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Speaker 1: Look mayre, Oh, I see you my own look over

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Speaker 1: there is that culture. Yes, goodness lost culture, dang dong

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Speaker 1: lost culturistas calling energy is high, energies high. We're a

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Speaker 1: Webby Award winning podcast. Wow. Can you believe? Just when

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Speaker 1: you thought we couldn't win moral awards? And I'm sure

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Speaker 1: everyone was thinking that. Everyone was thinking that the podcast

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Speaker 1: has received critical acclaim and has been signed in an

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Speaker 1: academic words, it's been signed for our insight into the

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Speaker 1: entertainment industry. And if you thought that the discourse was

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Speaker 1: over about current events, no, we haven't waited yet. So

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Speaker 1: everyone step aside. Either will come a day when the

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Speaker 1: project of this podcast is over, and that day will

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Speaker 1: come when there are no more current events. Yeah, but

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Speaker 1: actually current events are happening as we speak. But when

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Speaker 1: we don't speak, will they happen. It's sort of a

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Speaker 1: tree fall situation. It's a chicken or the egg, it's

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Speaker 1: both those things. It's a tree falling on an egg

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Speaker 1: one hundred percent. It's a tree falling on an egg.

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Speaker 1: If a tree falls in the forest and the egg cracks,

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Speaker 1: was there ever an egg? And is this worth thinking about? Yes?

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Speaker 1: Thank you for people who helped vote for us helped vote,

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Speaker 1: and everyone who helped vote. If you helped vote, not

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Speaker 1: if you voted, please you helped vote. Help out this year,

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Speaker 1: end vote. Everyone this year has to help vote. Truly,

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Speaker 1: thank you to everybody in this room, especially for helping

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Speaker 1: us with making the podcast happen. Yeah, thank you whatever

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Speaker 1: you want here. And actually it was in this very

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Speaker 1: room that the episode that we won. It was so

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Speaker 1: we've won Best Individual Comedy Episode for our episode with

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Speaker 1: Kelly Clarkson, and that was comedy and it was a

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Speaker 1: rollicking comedy riot. Uh huh, you know all the comedy

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Speaker 1: greats found dead with that one. Our funniest are offering

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Speaker 1: now Webby Award winning, now be Award winning.

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Speaker 2: Speaking of offerings, I think that it's time. It's finally

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Speaker 2: time for us to wait into the discourse that is

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Speaker 2: the Tortured Poets Department.

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Speaker 1: And it's finally time. And I'm promising, I'm swearing on

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Speaker 1: my life, we're gonna be talking about the year twenty thirteen. Yeah,

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Speaker 1: it's happening. To get that out of the way. We're

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Speaker 1: getting to we're not punting it, we're not kicking it

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Speaker 1: down the road. It's gonna happen. Yeah, but we're gonna

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Speaker 1: do what we do and talk about this new big

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Speaker 1: album that came out. This is a stamming a run

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Speaker 1: of a year for us. This has been music here,

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Speaker 1: not since like what twenty ten, twenty eleven have the

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Speaker 1: girlies been this prolific. I mean it's been overwhelming. And

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Speaker 1: also it's not even like, for example, like with Tortured Poets.

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Speaker 1: She long and so there's a lot of music on

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Speaker 1: top of all the other new music.

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Speaker 2: And also you have to remember I'm newly in Mi

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Speaker 2: Lana era, right, so I have all these albums to

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Speaker 2: get through. I have homework. I haven't felt like this

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Speaker 2: since AP Environmental. Would you believe I got a bad

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Speaker 2: score on AP Environmental? You don't like the Earth?

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Speaker 1: Not a big fan because it's full of toxic trolls.

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Speaker 1: They're living under the crust those trolls. Now we have

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Speaker 1: to have to before we talk about Tortured Poets Department. Yeah,

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Speaker 1: talk deeply about the best song of the year so far,

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Speaker 1: and that is Espresso. And I want to say that

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Speaker 1: last week I sort of popped off about Coachella and

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Speaker 1: I said, like a lot of things, and I feel

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Speaker 1: that I paid Sabrina a little tiny bit of dust

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Speaker 1: because I kind of popped off about Chapel and then

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Speaker 1: I went from Chapel over to Sabrina and Serena was

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Speaker 1: just giving a different it's a different gear. It's not

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Speaker 1: that anything was better or worse. It was just like

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Speaker 1: it's a different show. She's in her cute little dresses

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Speaker 1: singing in front of like a desert motel set, which

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Speaker 1: I thought was really cute and inspired. But it was

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Speaker 1: really cute. I mean the whole thing, like her entire

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Speaker 1: aesthetic right now in the way that they're presenting the

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Speaker 1: album and the new single, Like I think it's great.

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Speaker 1: And she I didn't realize she had so many albums,

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Speaker 1: but she had a lot of albums.

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Speaker 2: Yeah, she's been around, and it feels like they finally

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Speaker 2: snapped into something really cool with her where she's she's

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Speaker 2: this like cute little like nostalgia almost like beat Like

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Speaker 2: what would you call those movies like Fello.

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Speaker 1: A net Footicello. Well, I mean she literally was in

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Speaker 1: a remake of Adventures and Babysitting, Yeah, you know what

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Speaker 1: I mean. Like she is like a kind of like

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Speaker 1: child star that like I don't know, hasn't been really

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Speaker 1: pinballed around the industry and like she kind of at

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Speaker 1: this point has landed as like fun cool, chill, girly

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Speaker 1: like Espresso is that. Espresso is that if you like

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Speaker 1: watch her interview, she's just like funny girl. Yeah, we

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Speaker 1: like her. Cool check and Sabrina, Sabrina, You're invited on

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Speaker 1: the pod if you want to come, if you want

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Speaker 1: to come here, you have a spot here. There is

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Speaker 1: a place for you at the table. There is a

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Speaker 1: place for you on last Culture and we want a

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Speaker 1: webby okay, and you might get it's another one. It

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Speaker 1: might be the funniest episode of the year. Our episode

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Speaker 1: was Sabrina Carpenter. You might be the new Richard pryor

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Speaker 1: Sabrina Carpenter if you come on this podcast. I see

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Speaker 1: that for her.

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Speaker 2: I'm telling you, like I'm listening to Espresso, I'm streaming.

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Speaker 2: So that's what I'm saying is it's like there's so

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Speaker 2: much that, but this is taking a song to.

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Speaker 1: Pop out like that, and I love that. This is

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Speaker 1: during the Torture Poet's discourse, we cannot stop talking about espresso.

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Speaker 1: But I have to say that's the vibe. It is

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Speaker 1: crack cocaine, an addictive drug that I made. Yeah, exactly

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Speaker 1: episode when she does her little dance and I know

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Speaker 1: you can do it, so show us that's stem me es.

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Speaker 1: You do it, that's stem meestress and listen like you

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Speaker 1: can't see us doing it, but just know we're doing

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Speaker 1: it exactly right. Yeah, even better than Sabrina. Even better

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Speaker 1: than Sabrina Sabrina.

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Speaker 2: If you come to this podcast and you allow us

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Speaker 2: to interview you, you can watch us do the choreo

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Speaker 2: and then and then.

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Speaker 1: Retire because no one's doing your dance moves better than us.

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Speaker 1: Let me tell you something, Well, shut it down. No,

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Speaker 1: she's she's on her way. She's not not what am

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Speaker 1: I saying? She's not on her way, she's she's a rye.

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Speaker 2: No, but I think that she's continuing to like well,

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Speaker 2: I think this last album because I did, I a

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Speaker 2: bunch of her stuff. Album album is great. I love

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Speaker 2: Tornado Warnings, I love Opposite.

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Speaker 1: Opposite is so fun, already over, already over because I

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Speaker 1: loved it. Boy. I mean, if you just listen to

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Speaker 1: that album all the way through, so good, nonsense nonsense.

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Speaker 1: I love Yeah so much. It's such a sweet song. Yeah.

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Speaker 2: I mean, also the way that she ends every live

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Speaker 2: performance with like a different rhyme rhyme.

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Speaker 1: Okay, I don't know. I just think she's fucking cute

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Speaker 1: and great and more. And I guess Tortured Poets Department

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Speaker 1: was made by I suppose her mother, her mom, her mom,

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Speaker 1: Taylor Taylor's and she is the world's mom. Let's talk

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Speaker 1: Tortured Poets Department. This is an album that I'm just

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Speaker 1: gonna say up top, we will look back on and

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Speaker 1: be like, damn, this is pretty fucking major. I think

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Speaker 1: that what's happening right now is the discourse is out

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Speaker 1: of fucking control and people are bending themselves into a

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Speaker 1: pretzel trying to figure out what they want to like

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Speaker 1: land on in a concrete way. And like, I think

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Speaker 1: the fact that it was thirty one songs like made

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Speaker 1: everyone so like frustrated and overwhelmed that that, like that

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Speaker 1: was the headline, right, Because Yeah, here's the thing, this

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Speaker 1: is my take. I'm just gonna get out of the way.

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Speaker 1: She needed to get to thirty one, right, And I

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Speaker 1: don't discount that as a reason as a motivating force,

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Speaker 1: because so much of this album is her literally subverting,

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Speaker 1: inverting all these things that we know about her. Yeah,

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Speaker 1: and like she's basically instead of breaking any new sonic ground,

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Speaker 1: she is dipping back into I think you were the

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Speaker 1: one to put this idea into my head, Like she's

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Speaker 1: dipping back into all of her old styles and albums

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Speaker 1: and approaches to songwriting. And she's kind of, as it were,

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Speaker 1: putting like a Sepiatone filter on everything, which is kind

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Speaker 1: of what she was doing on social media anyway, Like

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Speaker 1: all of it was being like Cepiotone, right. It was

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Speaker 1: like whatever photos were coming out of the tour in

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Speaker 1: the post US legs were like, oh, this is like

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Speaker 1: the treatment now for everything, And I think this is

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Speaker 1: retroactively the treatment in a very clever clever seems like

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Speaker 1: so like not the right word like savvy way where

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Speaker 1: it's like when she was putting out those playlists and

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Speaker 1: Apple music where it was like, oh, it's all the

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Speaker 1: stages of grief. It's her like recontextualizing all her own music.

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Speaker 1: I think that is a very intentional thing. Think that

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Speaker 1: is a statement on the album itself, which is, yeah,

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Speaker 1: everything you know about me, I'm looking back at retroactively redundant,

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Speaker 1: but yes, you know what I mean, Like I'm retroactively

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Speaker 1: considering this and the chapter is closed, We're moving on. Yeah.

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Speaker 2: I mean, I think the fact that she came out

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Speaker 2: and said this was a chapter in my life that's closed,

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Speaker 2: we're moving on, like, is such an because I remember

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Speaker 2: when the Aristotle was happening. I threw out there at

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Speaker 2: one point, like I wonder how healthy it is to

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Speaker 2: be doing this and also have the entire world's attention.

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Speaker 2: And some people were like, oh, like she's speculate. I'm like,

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Speaker 2: how healthy it is? Blah blah blah, Like you know that.

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Speaker 1: But I also think that she's sort of answered that

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Speaker 1: question here, which is it was not the healthiest time

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Speaker 1: of her life doing this, like she had this relationship

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Speaker 1: and and whatever about the personal aspects of it all,

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Speaker 1: because I'm I think we're putting the car before the

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Speaker 1: horse a lot with her, because if you just make

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Speaker 1: it about the music, it's a way simpler conversation. There

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Speaker 1: are so many fucking incredible songs on this, and I

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Speaker 1: really think people would do themselves a favor if they

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Speaker 1: started listening to her music as if they're the protagonist

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Speaker 1: of the songs and not she is the protagonist, or

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Speaker 1: by the same token, the antagonist of these songs like

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Speaker 1: take Taylor Swift out of it and just experience the

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Speaker 1: song just a big ass.

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Speaker 2: Yeah, it's not as easy as it is said to

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Speaker 2: accomplish because I think that she obviously looms so large.

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Speaker 2: But what I'm I guess pulling is that, like, this

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Speaker 2: album is a collection of songs that she wrote during

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Speaker 2: one of the most intense periods of her life, and

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Speaker 2: so yes, it is a little bit messy.

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Speaker 1: Yes, it is like big. It's also like lyrically.

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Speaker 2: People saying that she's not experimenting here, she's like way

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Speaker 2: more frank, she curses a lot more, she's like talking

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Speaker 2: about like it's just like a rougher, dirtier, like more

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Speaker 2: textured lyric throughout. Then I think she's given so to

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Speaker 2: say there's no experimentation here, I don't think is totally correct.

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Speaker 2: I get that it feels like a lot of these

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Speaker 2: sounds we've heard before, but if you really listen to

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Speaker 2: this album, I think what she gave is like nineties

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Speaker 2: VH one country rock, girly, and that is kind of

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Speaker 2: what I wanted. Yeah, it's just there is so much music,

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Speaker 2: so it's hard to get through it all just physically,

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Speaker 2: and I think that's informing some of the takes, like Oh,

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Speaker 2: I'm throwing my hands up in there because I'm already

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Speaker 2: overwhelmed this too much. But once you really fucking listen,

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Speaker 2: there's a ton of great.

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Speaker 1: Fucking shit here. It is that genre and I love

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Speaker 1: that for her. Yes, I agree with all of what

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Speaker 1: you're saying. What I did last night was, if you

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Speaker 1: have an Apple Music subscription, put it on the TV,

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Speaker 1: have the lyrics next to you. Yes. Yes, it's such

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Speaker 1: an interesting experience. I think she also it doesn't really matter,

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Speaker 1: but it's like I think what she would want because

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Speaker 1: it is such a right early album. Yeah, it is

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Speaker 1: such a lit Manger kind of thing. Yeah. I found

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Speaker 1: it really really engrossing in that way.

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Speaker 2: Yeah, it's so funny because she rotates between being very

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Speaker 2: like one to one in her lyrics, like and now

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Speaker 2: I'm down bad crying at the gym. Yeah, and then

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Speaker 2: in like contrast to that, there's the Albatross and there's

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Speaker 2: like almost everything on the anthology which is like very dense.

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Speaker 2: And I think that some of the comments, like in

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Speaker 2: some of the more negative reviews, is that it feels

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Speaker 2: like it's too much words and it needs like inner

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Speaker 2: cuts and edits to like get through it.

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Speaker 1: But I kind of think that all of that is

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Speaker 1: the point. Like it's like, yeah, it's her version of

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Speaker 1: a tortured poetry book that she's putting through a Taylor

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Speaker 1: Swift lens. Yeah, And if it's polarizing to people, A,

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Speaker 1: I think that's good, and I think that will make

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Speaker 1: everything about going forward more interesting. And B I think again,

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Speaker 1: you don't have to sit there and listen to all

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Speaker 1: thirty one of these in a row. No, like, let

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Speaker 1: them just be songs. Yeah, because that's really all I are. People. Hmmm.

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Speaker 1: I think that her not having this filter. I think

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Speaker 1: this album is like an unfiltered cigarette totally her not

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Speaker 1: having that filter literally figuratively. I think she is seizing

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Speaker 1: this as the first post Eras tour album released, Like

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Speaker 1: every eye and ear is gonna be on this. What

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Speaker 1: can I do that I can only do now? Like

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Speaker 1: this is another carte blanche for me, right, because you

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Speaker 1: know what, she didn't really get that with nineteen eighty nine.

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Speaker 1: She did not get the opportunity to do a post

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Speaker 1: Imperial Phase album to be like I can make this

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Speaker 1: whatever I want, right, She was kind of backed into

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Speaker 1: recorder was pushed into push into reputation, and.

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Speaker 2: In saying that, like as a follow up to nineteen

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Speaker 2: eighty nine, even without all the stuff around it, reputation

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Speaker 2: like incredible album r but like she conceptually had to

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Speaker 2: have some reactionary work, like after the whole Kim Kanye show.

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Speaker 1: Yes, she did not have the opportunity until now to

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Speaker 1: come off of one of the biggest moments of her

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Speaker 1: career and then be like I can do whatever. This

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Speaker 1: is true imperial phase. I'm lucky enough to get a

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Speaker 1: second one. Yes, what can I do with this opportunity?

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Speaker 1: This is maybe the only time in her career. I

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Speaker 1: don't know, this is not totally informed, but like she's

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Speaker 1: gonna put out an album with thirty one songs on

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Speaker 1: it and have everyone listen to it, right what I mean? Yes?

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Speaker 1: I feel like also one thing that's getting lost is

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Speaker 1: when people are like, oh, it's thirty one songs, Like

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Speaker 1: that's too much for an album. It is two albums.

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Speaker 1: There's a fifteen song album and a sixteen song second album,

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Speaker 1: or a sixteen song album and a fifteen song follow up.

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Speaker 2: So think about it that way if people need it

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Speaker 2: to be easier for them. But I think like what

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Speaker 2: you're saying about it feeling cumulative and also imperial, especially

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Speaker 2: in this moment, is so dead on, because what I

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Speaker 2: think we have here is.

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Speaker 1: Like the bitchy grown daughter of Red and Reputation. Like

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Speaker 1: I really feel like that's what we have here. It

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Speaker 1: feels like a sequel to both those albums to me

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Speaker 1: in a way, Red because of the genre that I

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Speaker 1: think we pretty much land on and Yes, and also

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Speaker 1: Reputation in that there is a lot of comment personal

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Speaker 1: comment that you can apply to yourself once you get

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Speaker 1: through like what this moment is, which is the release

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Speaker 1: and everyone doing the decoding thing that happens with her.

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Speaker 1: What you'll find is I think similar to what you

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Speaker 1: find with Reputation, which is just great music. Yeah.

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Speaker 2: And I also think it's like that daughter of Red

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Speaker 2: and Reputation, like graduated from Evermore College and vacation did Midnights.

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Speaker 2: And I feel like there's also a lot of speak

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Speaker 2: now in this just sonically there's a lot of speak now. Yeah,

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Speaker 2: I think so high school is speak now, I think so.

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Speaker 1: And I also think that Clara bo kind of gives

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Speaker 1: speak now, Clara Bow gives Lucky from Red too. Yeah,

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Speaker 1: It's like the grown up version of the Lucky Ones, right.

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Speaker 2: And I think that what's so great about all of

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Speaker 2: this is that it was created during the Eras tour,

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Speaker 2: when she was immersed in all of those eras. So

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Speaker 2: as a fan, this is very satisfying if you're looking

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Speaker 2: at it like a collective. And I also think just

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Speaker 2: from an artistic standpoint, what she's done is she has

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Speaker 2: funneled what I would essentially call and I'm not saying

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Speaker 2: this pejoritay ofly like a manic period, and you feel

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Speaker 2: that in the music, like the extremes of the emotions,

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Speaker 2: like the extremes of the lyricisms, the sort of places

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Speaker 2: that she's going. Sometimes I recognize it as being like

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Speaker 2: a pure example of whatever emotion that is.

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Speaker 1: Like Who's afraid of Little Old Me?

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Speaker 2: Is pure anger channeled into this like big pop song,

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Speaker 2: which is like again, like I think, spiritually a sequel

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Speaker 2: to reputation in a really fun way. And I I

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Speaker 2: also think there's like some question about like how seriously

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Speaker 2: she takes herself as like a tortured poet. Remember guys

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Speaker 2: that she's like the biggest and best pop star in

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Speaker 2: the world, and she's incredibly good at putting on these

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Speaker 2: different costumes, she in fact knows they are eras well

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Speaker 2: enough to brand it that way. So she is wearing

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Speaker 2: a costume as this tortured poet. She went through something,

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Speaker 2: saw what the body of work was giving and said,

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Speaker 2: this is like tortured poetry, and I see an aesthetic there.

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Speaker 2: So that to me is all fun and specific and great.

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Speaker 2: And she does seem in control of it me in

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Speaker 2: a complete way.

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Speaker 1: And some people seem to really bristle at this theory,

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Speaker 1: and I kind of have like some weariness around it.

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Speaker 1: But like if like the asylum imagery motif in this

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Speaker 1: is connecting to like a manic episode, which like a

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Speaker 1: lot of people really like have sensitivities around that word

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Speaker 1: totally of course, so valid, But I I like that

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Speaker 1: lens too of like, oh, yeah, this relationship you were

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Speaker 1: in for six seven years is over as you're on

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Speaker 1: the highest grossing tour of all time right while you're

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Speaker 1: dating this like really chaotic person. Like all of these

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Speaker 1: things are like shrapnel in the explosion. Yeah you know

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Speaker 1: what I mean? Yes, And I also think she has

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Speaker 1: always in fact, it's been like the bit about her,

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Speaker 1: like she puts her relationships into her music, right, and

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Speaker 1: so that's like a way that she funnels her emotion.

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Speaker 1: And so the fact that she had this one relationship

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Speaker 1: that has defined a lot of her music from probably

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Speaker 1: the past better part of a decade ending and this

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Speaker 1: other one starting and being so crazy like that insanity

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Speaker 1: and like I said that messiness, and I say that

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Speaker 1: in a good way, like this was always gonna be

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Speaker 1: the kind of album that she made at this time. Huh.

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Speaker 1: The fact that it feels like a little whatever quote

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Speaker 1: unquote unedited, I think is good and interesting and exciting

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Speaker 1: me too. I'm sure people will listen to this and

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Speaker 1: it'll come off as us like quote unquote defending her.

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Speaker 1: I don't really feel that she doesn't. She doesn't need

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Speaker 1: defense or protection really, and what she has done that

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Speaker 1: I think is forever like defining her career, which is

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Speaker 1: like crazy to think about it this way. She's like

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Speaker 1: really and I say this like genuinely, like this is genius,

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Speaker 1: Like she did something that not a lot of artists

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Speaker 1: have done, which is with the Eras tour when she

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Speaker 1: announced that concept, like it was so revolutionary, but it was.

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Speaker 1: It's just like she destroys the binary between like new

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Speaker 1: work old work because it's like you're touring artist. Let's

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Speaker 1: say you're McCartney. You go out with your new album,

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Speaker 1: people still want to hear you sing like Backbird, you know,

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Speaker 1: like they want you to play the hits. This is

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Speaker 1: someone who like the legacy stuff and the new stuff

361
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Speaker 1: is on the same level. Like that hasn't really ever happened.

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Speaker 1: I mean, like in my memory, my myopic, small limited scope,

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Speaker 1: like that hasn't happened before. Like an artist who like

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Speaker 1: fucking changes the paradigm so completely. And I think going forward,

365
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Speaker 1: I don't know what she does except for recontextualize all

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Speaker 1: of the stuff that comes before. I think, whatever she

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Speaker 1: does going forward, And I'm so interested to see what

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Speaker 1: twelve and thirteen are albums twelve and thirteen are because

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Speaker 1: it's like, up until thirteen, is it gonna be like

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Speaker 1: just And I hope it's not, because there is a

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Speaker 1: danger to this. I hope it's not pure navel gazy.

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Speaker 1: I hope it's not pure like let's look at what

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Speaker 1: I've done, even though she's allowed to do that because

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Speaker 1: she is so prolific that way. But I'm like, my

375
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Speaker 1: gut is telling me this is her album of like

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00:20:54,640 --> 00:20:57,520
Speaker 1: let me just get all of the retrospection out of

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Speaker 1: the way. Yeah, and then twelve is going to be

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Speaker 1: something interesting, I hope, I'm sure. And thirteen is gonna

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Speaker 1: be oh, whatever it is, it's gonna be huge and

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00:21:07,359 --> 00:21:10,960
Speaker 1: studio symbolic. It's gonna represent something. The obvious thing to

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Speaker 1: me seems to be like it'll be like country, pure

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00:21:14,000 --> 00:21:17,760
Speaker 1: country again when that like quote unquote trend is maybe

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Speaker 1: like done with the other girlies, like she will return

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Speaker 1: to that and like claim it as hers or something.

385
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Speaker 1: But yeah, I mean like in some ways this is

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Speaker 1: reminding me of reputation when people were like she's over exposed,

387
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Speaker 1: like there is that fatigue setting in which, you know,

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Speaker 1: I think she also saw coming where it's like she

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Speaker 1: might as well like ride that wave and like put

390
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Speaker 1: out something that will be polarizing and divisive and people

391
00:21:42,560 --> 00:21:45,160
Speaker 1: will have opinions about. Yeah. I think it was surprising

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00:21:45,280 --> 00:21:48,000
Speaker 1: that it was coming now, of course, because it really

393
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Speaker 1: feels like a fall album and you know what I mean,

394
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Speaker 1: like and it kind of feels like it would be

395
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Speaker 1: in line with the stuff that she is, you know,

396
00:21:55,520 --> 00:21:58,560
Speaker 1: famously and historically released in the Fall, and it doesn't

397
00:21:58,640 --> 00:22:02,040
Speaker 1: feel like it's giving summer, So maybe that is some

398
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Speaker 1: of like the polarized reaction is just people like not

399
00:22:05,520 --> 00:22:08,760
Speaker 1: necessarily being in the mood for what they certainly will

400
00:22:08,800 --> 00:22:11,120
Speaker 1: be in the mood for when they have their little

401
00:22:11,160 --> 00:22:14,920
Speaker 1: hot Coco in there. This is gonna fucking hit kN October.

402
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Speaker 2: It really is, And I feel like the reason why

403
00:22:18,960 --> 00:22:21,280
Speaker 2: it's coming now in April is because they had to

404
00:22:21,480 --> 00:22:25,000
Speaker 2: probably add it to the tour. I would imagine that

405
00:22:25,119 --> 00:22:28,280
Speaker 2: we're getting serious cuts to the Era's tour and they're

406
00:22:28,359 --> 00:22:30,879
Speaker 2: gonna give a whole tortured poet section at the end,

407
00:22:30,960 --> 00:22:34,840
Speaker 2: and like She's gonna go in. We're probably getting seven

408
00:22:35,359 --> 00:22:38,359
Speaker 2: songs and we'll talk about like specifically what might be

409
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Speaker 2: fun to see because I go back and forth, like

410
00:22:41,520 --> 00:22:44,760
Speaker 2: literally I yesterday I tried to make like a playlist,

411
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Speaker 2: like if I were to narrow down the album, you

412
00:22:47,200 --> 00:22:50,240
Speaker 2: know what I mean, Like even doing that, like my

413
00:22:50,400 --> 00:22:53,359
Speaker 2: playlist just this album was still over twenty two to

414
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Speaker 2: twenty three songs ago. There's not that much here. There's

415
00:22:57,560 --> 00:22:59,919
Speaker 2: not as much chap as people are saying, not at all.

416
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Speaker 2: And if there are those songs that you think are

417
00:23:03,080 --> 00:23:06,680
Speaker 2: on that short list, listen to them again. Because even

418
00:23:06,760 --> 00:23:09,720
Speaker 2: if it might not hit at first, Like there's really

419
00:23:09,960 --> 00:23:14,680
Speaker 2: interesting lyrical stuff happening here, and like I just think

420
00:23:14,840 --> 00:23:17,440
Speaker 2: that it's better than you think. And I think we're

421
00:23:17,480 --> 00:23:21,400
Speaker 2: kind of like tripping ourselves up by being overwhelmed. People

422
00:23:21,440 --> 00:23:24,520
Speaker 2: have been so defensive about their reaction to this album,

423
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Speaker 2: Like I've had more than one person come to me

424
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Speaker 2: and be like, I haven't gotten through it yet.

425
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Speaker 1: I just feel like it's a lot. I'm like, babe,

426
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Speaker 1: I don't care if you like it or don't like

427
00:23:34,320 --> 00:23:37,680
Speaker 1: but there is this preciousness and this like you know,

428
00:23:38,000 --> 00:23:41,320
Speaker 1: panic about reacting to this album and like arriving at

429
00:23:41,359 --> 00:23:44,520
Speaker 1: a take, which is like not why we have music.

430
00:23:44,640 --> 00:23:46,640
Speaker 1: There's a metatake on it for people to write. There's

431
00:23:46,680 --> 00:23:49,640
Speaker 1: like I have a take on my take, yes, which

432
00:23:50,000 --> 00:23:52,639
Speaker 1: is so interesting. Maybe we're like doing that right now too.

433
00:23:52,680 --> 00:23:54,800
Speaker 1: You know. I literally got tripped up last night because

434
00:23:54,800 --> 00:23:57,159
Speaker 1: I was like, oh God, like I can't then I

435
00:23:57,240 --> 00:23:59,200
Speaker 1: was our episode about tortured poets, like what are we

436
00:23:59,240 --> 00:24:01,239
Speaker 1: gonna say? And I'm like, wait, hold on, slow your

437
00:24:01,280 --> 00:24:04,520
Speaker 1: role for a second. Music. It's music, and it's fucking

438
00:24:04,600 --> 00:24:05,200
Speaker 1: great music.

439
00:24:05,280 --> 00:24:10,680
Speaker 2: And I think like these bizarre like sprints to the

440
00:24:10,800 --> 00:24:13,359
Speaker 2: take are not gonna work on something like this and

441
00:24:13,440 --> 00:24:16,200
Speaker 2: you're gonna look back on your take or your work

442
00:24:16,800 --> 00:24:19,800
Speaker 2: and you're gonna be like hmmm. I reacted to that quickly,

443
00:24:20,160 --> 00:24:22,959
Speaker 2: like it happens with her all the time, like Pitchfork,

444
00:24:23,440 --> 00:24:26,640
Speaker 2: And I did think that that review did make some points,

445
00:24:27,200 --> 00:24:29,320
Speaker 2: but I thought it was about a point too low

446
00:24:29,400 --> 00:24:30,880
Speaker 2: or a point and a half too low in terms

447
00:24:30,880 --> 00:24:33,679
Speaker 2: of the score, because we have yet again with her,

448
00:24:34,320 --> 00:24:36,919
Speaker 2: like they in particular have done many times, because they

449
00:24:37,000 --> 00:24:38,720
Speaker 2: retroactively rate her.

450
00:24:38,760 --> 00:24:43,080
Speaker 1: Hire a lot. Yeah, they interroactively rate everyone a lot higher. Yes,

451
00:24:43,200 --> 00:24:45,600
Speaker 1: And I feel like we in the race to have

452
00:24:45,680 --> 00:24:48,360
Speaker 1: a take or try to figure out this album, you're

453
00:24:48,400 --> 00:24:51,600
Speaker 1: actually doing a disservice to a lot of the work here,

454
00:24:51,800 --> 00:24:54,840
Speaker 1: because while again I think there are some points to

455
00:24:54,920 --> 00:24:58,720
Speaker 1: be made about, like it might be interesting to see

456
00:24:58,720 --> 00:25:01,880
Speaker 1: her work with someone outside of Jack and Aron next time.

457
00:25:02,000 --> 00:25:05,480
Speaker 1: Like I do agree that any artist should have a

458
00:25:05,640 --> 00:25:09,480
Speaker 1: period where they go off and reconfigure and like start

459
00:25:09,520 --> 00:25:12,080
Speaker 1: working with new people, and I think it is revitalizing.

460
00:25:12,480 --> 00:25:15,720
Speaker 1: We remember when Beyonce took time off before four and

461
00:25:15,880 --> 00:25:18,639
Speaker 1: came back as a new artist. You know, that's like

462
00:25:18,840 --> 00:25:22,040
Speaker 1: exciting and that's an opportunity. So I think there is

463
00:25:22,200 --> 00:25:25,000
Speaker 1: some stuff in the criticism here that's potential to listen to.

464
00:25:25,080 --> 00:25:27,960
Speaker 1: When I say that as a huge fan of not

465
00:25:28,119 --> 00:25:31,159
Speaker 1: only just Taylor but also Jack and Aaron, So I

466
00:25:31,200 --> 00:25:36,960
Speaker 1: think there is something there. But it is the Internet culture, yeah,

467
00:25:36,960 --> 00:25:42,040
Speaker 1: and that's nobody's fault, except like the culture of spreading

468
00:25:42,080 --> 00:25:45,240
Speaker 1: to a take with everything, and you know that's nothing new. Yeah,

469
00:25:45,280 --> 00:25:47,239
Speaker 1: I don't know. It's reminding me of Reputation a lot,

470
00:25:47,280 --> 00:25:53,240
Speaker 1: where there were just these god like so many informational

471
00:25:53,520 --> 00:25:57,359
Speaker 1: pieces about like what's this lyric mean? And in the

472
00:25:57,600 --> 00:26:00,680
Speaker 1: end that stuff doesn't really matter. And I'm not saying

473
00:26:00,720 --> 00:26:03,960
Speaker 1: I'm like inoculated from like what everyone else is thinking

474
00:26:04,040 --> 00:26:06,480
Speaker 1: and feeling, but like, I don't really care what song

475
00:26:06,600 --> 00:26:08,800
Speaker 1: is about Maddie and what song is about Joe. I'm

476
00:26:08,840 --> 00:26:10,639
Speaker 1: kind of like I don't care about that at all,

477
00:26:10,720 --> 00:26:12,200
Speaker 1: and neither does any of her fans. Like when you

478
00:26:12,280 --> 00:26:14,680
Speaker 1: go to the aristour like and you look around and

479
00:26:14,760 --> 00:26:18,600
Speaker 1: you see someone living their fucking life singing all too well,

480
00:26:19,040 --> 00:26:21,480
Speaker 1: they're not thinking about how that's about Jake Jillnhull. They're

481
00:26:21,480 --> 00:26:23,399
Speaker 1: thinking about how it applies to their life, which is

482
00:26:23,480 --> 00:26:26,199
Speaker 1: I guess why I'm saying, like, start listening to her

483
00:26:26,320 --> 00:26:29,480
Speaker 1: music as if you're the protagonist and try to apply

484
00:26:29,560 --> 00:26:32,320
Speaker 1: it to your own life instead of like falling down

485
00:26:32,400 --> 00:26:34,880
Speaker 1: a cliff trying to like figure out what it means

486
00:26:34,960 --> 00:26:37,639
Speaker 1: for her. It doesn't need to be that. She's always

487
00:26:37,760 --> 00:26:39,159
Speaker 1: been the best.

488
00:26:39,000 --> 00:26:43,360
Speaker 2: Communicator in pop music songwriting because she can communicate.

489
00:26:43,000 --> 00:26:45,760
Speaker 1: What you are feeling, what her audience is feeling, and

490
00:26:45,840 --> 00:26:50,280
Speaker 1: that's still here. I think this album has some of

491
00:26:50,320 --> 00:26:56,160
Speaker 1: her best songwriting. And I also agree that it is superfluous,

492
00:26:56,280 --> 00:26:59,400
Speaker 1: like any other thing, you know what I mean, Like, yeah,

493
00:26:59,480 --> 00:27:01,560
Speaker 1: like any other of her albums, And I think she

494
00:27:01,720 --> 00:27:04,080
Speaker 1: understands that on some level, it's okay not to like

495
00:27:04,160 --> 00:27:07,040
Speaker 1: tie it back to my work. But it's like it's

496
00:27:07,160 --> 00:27:09,800
Speaker 1: like when everyone's like snalos'm and goods and blah blah blah.

497
00:27:09,840 --> 00:27:12,280
Speaker 1: If you go back and pick any episode from any season,

498
00:27:12,359 --> 00:27:16,040
Speaker 1: it's like watch one episode. There's some great sketches, there's

499
00:27:16,080 --> 00:27:19,280
Speaker 1: some bad sketches, there are some mid sketches. That's just

500
00:27:19,560 --> 00:27:22,879
Speaker 1: how it works, because why we have to fill out

501
00:27:22,920 --> 00:27:25,119
Speaker 1: an hour and a half of television, right that is

502
00:27:25,240 --> 00:27:28,080
Speaker 1: like part of the production and like and but you're

503
00:27:28,080 --> 00:27:29,800
Speaker 1: thinking Oh it's Taylor Stow. She can make any album

504
00:27:29,840 --> 00:27:32,760
Speaker 1: any links to what she wants totally. But like I'm saying,

505
00:27:32,840 --> 00:27:34,960
Speaker 1: I think she wanted to get to thirty one. Yeah,

506
00:27:35,200 --> 00:27:41,400
Speaker 1: because it is, you know, neatly this subverted, reversed thing

507
00:27:41,720 --> 00:27:44,960
Speaker 1: that like we know, we think we're so familiarized with

508
00:27:45,119 --> 00:27:47,680
Speaker 1: something about her, and yet she is telling us that,

509
00:27:47,840 --> 00:27:50,200
Speaker 1: like and maybe she's inverting it because it's like this

510
00:27:50,359 --> 00:27:55,320
Speaker 1: is probably the most internally mainlined album she's ever put out.

511
00:27:55,480 --> 00:27:58,360
Speaker 1: Yeah too, you know that she's her insides are out.

512
00:27:58,600 --> 00:27:59,960
Speaker 1: Literally some of the.

513
00:28:00,359 --> 00:28:04,359
Speaker 2: Lines, I'm like so shook by that sounded so fucking basic,

514
00:28:04,440 --> 00:28:06,200
Speaker 2: but like what I guess what I mean is like

515
00:28:06,960 --> 00:28:09,600
Speaker 2: what if he's written mine on my upper thigh only

516
00:28:09,680 --> 00:28:12,600
Speaker 2: in my mind? Like Guilty of Sin Is, I think

517
00:28:12,720 --> 00:28:14,880
Speaker 2: my favorite song on the album, and I'm gonna say

518
00:28:14,920 --> 00:28:16,920
Speaker 2: this out into the atmosphere.

519
00:28:16,800 --> 00:28:20,520
Speaker 1: This must be in the tour. Okay, Guiltiest sin Is.

520
00:28:20,720 --> 00:28:23,800
Speaker 2: I think some of her best writing and specific like

521
00:28:24,359 --> 00:28:29,040
Speaker 2: that thing of when you've already been romantic intimate with

522
00:28:29,200 --> 00:28:33,240
Speaker 2: someone to like an embarrassing degree, to an emotional degree,

523
00:28:33,520 --> 00:28:36,240
Speaker 2: because you know that's where it's headed, like.

524
00:28:36,480 --> 00:28:38,600
Speaker 1: That your mind has got ahead of itself, has got

525
00:28:38,640 --> 00:28:42,160
Speaker 1: ahead of reality. Yeah, there's just not a lot of

526
00:28:42,680 --> 00:28:46,280
Speaker 1: songs that can like not only spell out that specific feeling,

527
00:28:46,360 --> 00:28:50,360
Speaker 1: but then like really it takes you on a ride

528
00:28:50,440 --> 00:28:53,360
Speaker 1: that song. And I love the type of song that is.

529
00:28:53,440 --> 00:28:55,640
Speaker 2: I made a list of, like I guess, like all

530
00:28:55,680 --> 00:28:59,080
Speaker 2: my favorite songs in order, and the stuff that rises

531
00:28:59,160 --> 00:29:03,160
Speaker 2: to the top for me is this like nineties like

532
00:29:04,440 --> 00:29:07,680
Speaker 2: rock moment, like but Daddy, I love him. I think

533
00:29:07,760 --> 00:29:09,600
Speaker 2: the chicks would be proud of that, you know what

534
00:29:09,680 --> 00:29:13,280
Speaker 2: I mean, Like Guiltiest Sin incredible, like so high school, Oh,

535
00:29:13,320 --> 00:29:17,280
Speaker 2: so high School's amazing. I love the Black Dog so much.

536
00:29:17,680 --> 00:29:20,520
Speaker 2: I love that starting line reference made me scream.

537
00:29:20,880 --> 00:29:21,320
Speaker 1: We watched it.

538
00:29:21,320 --> 00:29:24,120
Speaker 2: Who listened to it together? And also God blessed the

539
00:29:24,160 --> 00:29:26,360
Speaker 2: starting line And they're streaming numbers now they just pop

540
00:29:26,600 --> 00:29:29,040
Speaker 2: all the way off and they're thankful. Yeah, I mean,

541
00:29:29,160 --> 00:29:32,960
Speaker 2: but that's like old habits die screaming, Like come on,

542
00:29:33,160 --> 00:29:35,360
Speaker 2: I don't know like this, don't talk to me about

543
00:29:35,360 --> 00:29:37,920
Speaker 2: how she's Some of these articles were like fun to read,

544
00:29:37,960 --> 00:29:40,320
Speaker 2: I guess, Like the paste article I thought was fun to.

545
00:29:40,360 --> 00:29:42,000
Speaker 1: Read, you know what I mean, Like I thought the

546
00:29:42,040 --> 00:29:42,840
Speaker 1: pork thing.

547
00:29:44,280 --> 00:29:46,400
Speaker 2: It was brutal, but like I was reading it as

548
00:29:46,480 --> 00:29:49,760
Speaker 2: if like, this is this person popping off, not like I, yeah,

549
00:29:49,760 --> 00:29:51,960
Speaker 2: I necessarily agreed. I was just like, oh, this is

550
00:29:52,080 --> 00:29:55,120
Speaker 2: content about this album that I find entertaining. I'm sure

551
00:29:55,320 --> 00:29:57,800
Speaker 2: you know Taylor read it and had a different perspective,

552
00:29:58,600 --> 00:30:03,560
Speaker 2: but I was like, yeah, interesting and so intense unproving

553
00:30:03,800 --> 00:30:06,920
Speaker 2: that she's like lost it or flopped on this album.

554
00:30:07,000 --> 00:30:09,720
Speaker 2: And they basically did the equivalent of like screenshotting the

555
00:30:09,800 --> 00:30:12,760
Speaker 2: quote unquote cringe lyrics and putting them in highlight.

556
00:30:12,840 --> 00:30:15,040
Speaker 1: But I was gonna be my I don't think so, honey, Yes,

557
00:30:15,240 --> 00:30:16,080
Speaker 1: and it should be.

558
00:30:16,240 --> 00:30:21,080
Speaker 2: Yeah, But I was just like, this article deliberately ignores

559
00:30:21,560 --> 00:30:24,520
Speaker 2: so much of the excellent work here, and that's really

560
00:30:24,600 --> 00:30:27,320
Speaker 2: just a testament to how fucking high level of quality

561
00:30:27,400 --> 00:30:29,960
Speaker 2: she always delivers. That people can literally with a com

562
00:30:30,080 --> 00:30:32,760
Speaker 2: go through and pull out lyrics and like try to,

563
00:30:33,320 --> 00:30:36,240
Speaker 2: you know, sniper rifle find where she's maybe slipped up,

564
00:30:36,360 --> 00:30:39,040
Speaker 2: Like I'm sorry, but she hasn't. Over twenty of these

565
00:30:39,080 --> 00:30:39,840
Speaker 2: are genius.

566
00:30:40,000 --> 00:30:43,280
Speaker 1: What's like that is like the definition of like removing

567
00:30:43,320 --> 00:30:45,240
Speaker 1: context from something right, Like I also, I kind of

568
00:30:45,520 --> 00:30:49,720
Speaker 1: my eye just skims over in any review for any album. Yeah,

569
00:30:50,040 --> 00:30:54,480
Speaker 1: like when they reference the lyrics, I understand, like journalistically,

570
00:30:54,520 --> 00:30:56,160
Speaker 1: that's like what you're supposed to do. But I'm like,

571
00:30:56,560 --> 00:30:58,360
Speaker 1: if I read a song lyric no matter what, no

572
00:30:58,440 --> 00:31:01,120
Speaker 1: matter who it's by, I'm gonna be like, that sounds stupid. Yeah,

573
00:31:01,480 --> 00:31:04,040
Speaker 1: you know you know what I mean. Even poetry, if

574
00:31:04,040 --> 00:31:06,000
Speaker 1: it's like if the line breaks, if it's not formatted

575
00:31:06,000 --> 00:31:08,280
Speaker 1: the way that like the poet intended, I'm like, yeah,

576
00:31:08,480 --> 00:31:11,440
Speaker 1: well that's dumb. That sounds stupid as fuck. But yeah,

577
00:31:11,520 --> 00:31:13,960
Speaker 1: I mean I get why it's done. And I do

578
00:31:14,120 --> 00:31:17,000
Speaker 1: love the memes of people like taking the genius you

579
00:31:17,080 --> 00:31:19,880
Speaker 1: know Instagram post graphing their own lyrics onto it, for sure.

580
00:31:20,680 --> 00:31:22,560
Speaker 1: But sometimes when people are like why is she talking

581
00:31:22,600 --> 00:31:24,640
Speaker 1: about Grand Theft Daughto, It's like, okay, oh give me

582
00:31:24,720 --> 00:31:27,160
Speaker 1: a break, it's just on line. Just just listen to

583
00:31:27,240 --> 00:31:29,520
Speaker 1: the song. The article is about being like in a

584
00:31:29,600 --> 00:31:32,440
Speaker 1: high school mentality, touch me while your bros played Grand

585
00:31:32,520 --> 00:31:34,440
Speaker 1: Theft Auto. But you loved that line when we heard it,

586
00:31:34,600 --> 00:31:37,240
Speaker 1: Like it's like I appreciate that she wrote a song

587
00:31:37,440 --> 00:31:41,280
Speaker 1: for len me. Yeah, I mean what American pie Grand

588
00:31:41,280 --> 00:31:44,080
Speaker 1: Theft daughta. Yeah. Oh this is also six is coming

589
00:31:44,120 --> 00:31:46,120
Speaker 1: out soon anyway, so just wait a year and then

590
00:31:46,120 --> 00:31:47,960
Speaker 1: you're gonna fucking love it. This is what I'm gonna

591
00:31:47,960 --> 00:31:51,040
Speaker 1: say when that article is like an album that will

592
00:31:51,040 --> 00:31:55,240
Speaker 1: single handedly set poetry back like by existing, Like, first

593
00:31:55,240 --> 00:31:58,240
Speaker 1: of all, shut the fuck up, because she is again,

594
00:31:58,320 --> 00:32:02,080
Speaker 1: I'm a pop star who is doing this tortured poet

595
00:32:02,120 --> 00:32:04,960
Speaker 1: thing like it's a pop star era. It's a character.

596
00:32:05,080 --> 00:32:10,040
Speaker 1: It's like a character. It's not like she doesn't actually

597
00:32:10,200 --> 00:32:12,760
Speaker 1: consider herself a tortured poet.

598
00:32:12,880 --> 00:32:15,040
Speaker 2: Like she even said like I'm not Patti Smith, You're

599
00:32:15,040 --> 00:32:17,960
Speaker 2: not Dylan Thomas in torture Poet's the song like this

600
00:32:18,080 --> 00:32:19,480
Speaker 2: isn't the Chelsea Hotel, Like it's not.

601
00:32:19,880 --> 00:32:22,000
Speaker 1: Actually that deep.

602
00:32:22,200 --> 00:32:24,840
Speaker 2: It's just a way for her to commit to an

603
00:32:24,840 --> 00:32:28,400
Speaker 2: aesthetic that matches the sound and the tone of what

604
00:32:28,520 --> 00:32:29,040
Speaker 2: she's doing.

605
00:32:29,480 --> 00:32:32,840
Speaker 1: So what I would say is like touch grass. If

606
00:32:32,960 --> 00:32:36,280
Speaker 1: that's what your takeaway is, don't worry. Poetry is okay.

607
00:32:36,880 --> 00:32:39,760
Speaker 1: Taylor Swift is not destroying or setting back poetry. It's

608
00:32:39,840 --> 00:32:44,600
Speaker 1: that kind of like hyperbolic commentary on this type of thing,

609
00:32:44,720 --> 00:32:49,560
Speaker 1: which a is just too fast, too soon, and also

610
00:32:49,720 --> 00:32:53,680
Speaker 1: be like you know, that's not what is happening here,

611
00:32:53,800 --> 00:32:56,520
Speaker 1: Like you the writer know she's not setting poetry back

612
00:32:56,560 --> 00:33:09,000
Speaker 1: with this. It's a pop music album. Do we want

613
00:33:09,040 --> 00:33:10,720
Speaker 1: to look at tracks highlight?

614
00:33:10,760 --> 00:33:13,600
Speaker 2: I mean, let me just say down bad crying at

615
00:33:13,640 --> 00:33:18,120
Speaker 2: the gym when she fucked that alien. I said, this

616
00:33:18,400 --> 00:33:20,840
Speaker 2: was I already have a music.

617
00:33:20,680 --> 00:33:22,640
Speaker 1: Video in my head for this. I really hope she'd

618
00:33:22,680 --> 00:33:24,520
Speaker 1: makes the video with this. I love want tout an

619
00:33:24,520 --> 00:33:25,160
Speaker 1: alien abduction.

620
00:33:25,800 --> 00:33:30,400
Speaker 2: Uh, she got abducted by this alien, sent back and

621
00:33:30,520 --> 00:33:32,920
Speaker 2: now she's down back, crying at the gym, fucking icing

622
00:33:33,080 --> 00:33:33,840
Speaker 2: her injuries.

623
00:33:34,240 --> 00:33:36,640
Speaker 1: Like my first couple listens, I was like, oh, she's

624
00:33:36,680 --> 00:33:39,040
Speaker 1: talking about an X. I was like, oh okay, like

625
00:33:39,120 --> 00:33:41,440
Speaker 1: did you beat me up? Like okay, great, But then

626
00:33:41,520 --> 00:33:44,040
Speaker 1: like that line of like they'll think I'm nuts if

627
00:33:44,080 --> 00:33:46,719
Speaker 1: I like talk about your existence Like I'm like, oh

628
00:33:46,840 --> 00:33:49,920
Speaker 1: of course, Like it's yeah, I love that. It's like

629
00:33:51,440 --> 00:33:56,880
Speaker 1: post breakup depression grafted onto like being abducted by aliens

630
00:33:56,960 --> 00:34:00,840
Speaker 1: and also something that like didn't happen for our long time.

631
00:34:01,080 --> 00:34:04,120
Speaker 2: It's like this experience, it's more it's less a relationship

632
00:34:04,240 --> 00:34:06,520
Speaker 2: she had and more of an experience that she had

633
00:34:06,560 --> 00:34:08,440
Speaker 2: in an emotion that she feels as a result of

634
00:34:08,480 --> 00:34:11,000
Speaker 2: it like have don't we all had that metaphor, he

635
00:34:11,080 --> 00:34:12,480
Speaker 2: had that metaphor of like oh God.

636
00:34:12,520 --> 00:34:13,920
Speaker 1: It felt like I was like wraps her up into

637
00:34:13,920 --> 00:34:16,440
Speaker 1: the sky. I mean, that's what the cosmic thing of

638
00:34:16,520 --> 00:34:18,120
Speaker 1: it is. And I do think a lot of this

639
00:34:18,320 --> 00:34:23,160
Speaker 1: also speaks to Ariana's album, like like Ariana's album is

640
00:34:23,239 --> 00:34:27,239
Speaker 1: about that experience too, of like reeling outside of something

641
00:34:27,320 --> 00:34:29,319
Speaker 1: and then entering something else. And I also think it's

642
00:34:29,600 --> 00:34:32,440
Speaker 1: the miracle move on drug. Yes, there's a lot going

643
00:34:32,480 --> 00:34:34,239
Speaker 1: on here, even a lot of the visuals. It feels

644
00:34:34,320 --> 00:34:37,319
Speaker 1: like there was like some like mindedness in a good way.

645
00:34:37,800 --> 00:34:42,520
Speaker 1: But when I first listened through Down Dad was just.

646
00:34:42,640 --> 00:34:46,040
Speaker 2: It popped out to me because it's Taylor, and I

647
00:34:46,200 --> 00:34:49,840
Speaker 2: think that there's not a lot of Taylor on this album,

648
00:34:50,239 --> 00:34:53,960
Speaker 2: and after Eras when it was extremely Taylor, like to

649
00:34:54,040 --> 00:34:59,600
Speaker 2: get so much Taylor hard or tailor like feels maybe

650
00:34:59,680 --> 00:35:01,800
Speaker 2: not we wanted her expected, but it kind of is

651
00:35:01,920 --> 00:35:04,719
Speaker 2: what I wanted and expected. Yet there are things like

652
00:35:04,880 --> 00:35:08,120
Speaker 2: down Bad where she goes fucket a fuck can't have him,

653
00:35:08,600 --> 00:35:11,000
Speaker 2: or I can be like a little bitch walking the

654
00:35:11,040 --> 00:35:14,239
Speaker 2: streets and like you know, might shake my Tayla asks

655
00:35:14,280 --> 00:35:16,719
Speaker 2: you know what I mean people saying that there's not

656
00:35:16,760 --> 00:35:19,000
Speaker 2: a lot of opportunities to shake your ass like Tayla

657
00:35:19,360 --> 00:35:23,040
Speaker 2: on this album, Like, just do another listen through because

658
00:35:23,080 --> 00:35:26,000
Speaker 2: down Bad is here for you. Like you know, there's moments,

659
00:35:26,080 --> 00:35:29,160
Speaker 2: it's just it's a more like it's balance, and that's

660
00:35:29,280 --> 00:35:32,160
Speaker 2: just what it is. She gave you nineties v H

661
00:35:32,320 --> 00:35:35,120
Speaker 2: one woman, It's it's quill Pen, Fountain Pen, Taylor. I

662
00:35:35,160 --> 00:35:39,680
Speaker 2: don't think we've ever done the one to one on Tayla.

663
00:35:39,920 --> 00:35:44,960
Speaker 1: Taylor taylora every now and then with what she has

664
00:35:45,080 --> 00:35:48,680
Speaker 1: parsed out herself as I have songs that are quill Pen,

665
00:35:49,000 --> 00:35:52,880
Speaker 1: glittergel Pen. Yeah, fountain Pen and glitter jel Pen obviously

666
00:35:52,960 --> 00:35:55,200
Speaker 1: is Taylor or Tayla. I'm so sorry, Oh my god, Wow,

667
00:35:55,200 --> 00:35:58,880
Speaker 1: I can't believe they got that wrong. And it's a

668
00:35:58,960 --> 00:36:01,359
Speaker 1: little bit murkier when you go into quill pen found

669
00:36:01,400 --> 00:36:03,960
Speaker 1: Pen territory. But both of those kind of combined to

670
00:36:04,080 --> 00:36:08,720
Speaker 1: form Taylor. Yeah again, Taylor knows about Taylor Taylor.

671
00:36:09,280 --> 00:36:11,759
Speaker 2: She now knows, and so that's why she approached this

672
00:36:11,800 --> 00:36:13,920
Speaker 2: album the way she did as a result of your

673
00:36:13,960 --> 00:36:14,719
Speaker 2: interaction with her.

674
00:36:15,200 --> 00:36:18,719
Speaker 1: I know you love the Albatross I love the Albatross

675
00:36:18,960 --> 00:36:22,480
Speaker 1: so much. When I first saw this as a track,

676
00:36:22,680 --> 00:36:24,240
Speaker 1: this is supposed to be one of the bonus tracks

677
00:36:24,280 --> 00:36:27,440
Speaker 1: on the original album, I was like, Oh, is this

678
00:36:28,200 --> 00:36:31,320
Speaker 1: a Fluwood Mac reference? Because before Stevie and Lindsay joined,

679
00:36:31,920 --> 00:36:37,440
Speaker 1: Fleetwood Mac has an instrumental song called Albatross and Baby

680
00:36:38,160 --> 00:36:40,239
Speaker 1: put it on before you go to bed. It is

681
00:36:40,320 --> 00:36:43,239
Speaker 1: gonna send you to Dreamland. It's gonna put you on

682
00:36:43,360 --> 00:36:46,359
Speaker 1: the little barge to Dreamland and then push you down

683
00:36:46,440 --> 00:36:50,080
Speaker 1: the river. Such a beautiful and enchanting song. I thought

684
00:36:50,120 --> 00:36:53,320
Speaker 1: it would be referenced to that. It wasn't. I was shocked, delighted.

685
00:36:54,000 --> 00:36:55,759
Speaker 1: It's a really beautiful song. I think this has her

686
00:36:55,800 --> 00:36:56,320
Speaker 1: best lyrics.

687
00:36:56,480 --> 00:36:58,960
Speaker 2: I think not only would I comment lyrics, can I

688
00:36:59,080 --> 00:37:02,120
Speaker 2: agree with you? It's like among her better lyrics, but.

689
00:37:02,280 --> 00:37:06,920
Speaker 1: Her vocal on this is really good, Like the Albatross

690
00:37:06,960 --> 00:37:11,680
Speaker 1: has some incredible backing vocals like this is what I'm

691
00:37:11,680 --> 00:37:17,000
Speaker 1: saying is it's like you can't appreciate the texture of

692
00:37:17,360 --> 00:37:22,160
Speaker 1: all of this reacting quickly to an album this long

693
00:37:22,320 --> 00:37:25,719
Speaker 1: and this vast, because you need to have a take, like,

694
00:37:26,239 --> 00:37:30,040
Speaker 1: actually listen to what's going on here, Like the Albatross

695
00:37:30,080 --> 00:37:34,520
Speaker 1: has just incredible stuff happening lyrically, sonically, like this is

696
00:37:35,239 --> 00:37:37,239
Speaker 1: I think, by far one of the best. Like I

697
00:37:37,480 --> 00:37:39,560
Speaker 1: made this list last night. It's one, two, three, four,

698
00:37:39,719 --> 00:37:42,120
Speaker 1: five on my list. Great, it's ranked.

699
00:37:42,520 --> 00:37:44,480
Speaker 2: I have Guilty of Sin number one, but Daddy I

700
00:37:44,520 --> 00:37:46,919
Speaker 2: Love Him number two, down Bad number three, the black

701
00:37:47,000 --> 00:37:50,560
Speaker 2: Dog number four, Albatross number five, so high School number six,

702
00:37:51,000 --> 00:37:52,200
Speaker 2: Fresh Out the Slammer I love.

703
00:37:52,239 --> 00:37:54,520
Speaker 1: I love Rush Out the Slammer because she gave you

704
00:37:54,560 --> 00:37:59,439
Speaker 1: a little bit of this fresh other slammer. And I said,

705
00:37:59,520 --> 00:38:00,719
Speaker 1: thank you, thank you.

706
00:38:00,800 --> 00:38:05,960
Speaker 2: Taylor for showing up, because you're welcome here always Taylor. Yes,

707
00:38:06,200 --> 00:38:09,720
Speaker 2: and then I have Fortnite, which grew on me, Thank you, Amy,

708
00:38:09,760 --> 00:38:10,359
Speaker 2: and Love of my Life.

709
00:38:10,400 --> 00:38:12,839
Speaker 1: Those are my top ten love. I have not taken

710
00:38:12,840 --> 00:38:15,360
Speaker 1: it upon myself to rank, and that's what makes this album.

711
00:38:15,520 --> 00:38:17,319
Speaker 1: So choose your own adventure. Yes.

712
00:38:18,040 --> 00:38:20,840
Speaker 2: And by the way, this playlist that I made is

713
00:38:20,880 --> 00:38:24,200
Speaker 2: called this is what I personally believe, and.

714
00:38:24,280 --> 00:38:27,600
Speaker 1: I will share a public is the Matt Rogers catchphrase.

715
00:38:27,719 --> 00:38:30,440
Speaker 1: That's the essence in one sense. Honestly, this could be

716
00:38:30,560 --> 00:38:32,960
Speaker 1: the album title. This is what I personally believe.

717
00:38:33,040 --> 00:38:34,759
Speaker 2: Maybe that's my next album is called this is what

718
00:38:34,840 --> 00:38:37,600
Speaker 2: I personally believe, and it's tortured Poets Coded, and that's the.

719
00:38:37,600 --> 00:38:40,960
Speaker 1: Title of this episode. This is what I personally believe.

720
00:38:42,000 --> 00:38:43,400
Speaker 1: What do you think of thank you Amy? And the

721
00:38:43,440 --> 00:38:48,319
Speaker 1: capitalization of K, I and AM as letters. I love

722
00:38:48,520 --> 00:38:52,719
Speaker 1: capitalizing on those letters. I think that Taylor this is

723
00:38:52,800 --> 00:38:55,640
Speaker 1: a sign of Taylor being fully of like the reason

724
00:38:55,680 --> 00:38:58,839
Speaker 1: why everyone's like, why is she still you know, relitigating

725
00:38:58,880 --> 00:39:01,600
Speaker 1: this or digging this up again? Because I think it

726
00:39:01,760 --> 00:39:05,200
Speaker 1: is purely retrospective, right. I think she's looking back at

727
00:39:05,280 --> 00:39:09,920
Speaker 1: like the whole story of Taylor Swift because it's been

728
00:39:10,000 --> 00:39:12,800
Speaker 1: motivated by the Ariostour. I think she's looking back on

729
00:39:12,920 --> 00:39:14,760
Speaker 1: a lot of the things that have defined her career

730
00:39:14,880 --> 00:39:18,160
Speaker 1: so far, and she's going, let me actually leave this behind.

731
00:39:19,480 --> 00:39:22,239
Speaker 1: That's where thirty one comes in, you know, like, let

732
00:39:22,320 --> 00:39:27,200
Speaker 1: me actually like subvert this move on the chapter is closed.

733
00:39:27,320 --> 00:39:29,680
Speaker 1: Like I believe her when she says that. I think

734
00:39:29,680 --> 00:39:31,799
Speaker 1: it's a great song. I love Cassandra, which is kind

735
00:39:31,800 --> 00:39:34,360
Speaker 1: of also spiritually in the same world of like this

736
00:39:34,520 --> 00:39:37,120
Speaker 1: person's been wrong, Cassandra of Troy, nobody would listen to

737
00:39:37,160 --> 00:39:39,920
Speaker 1: her and the albatross who speaks to that, like I

738
00:39:40,000 --> 00:39:44,880
Speaker 1: have been so maligned and so labeled as these things

739
00:39:45,000 --> 00:39:48,440
Speaker 1: like you coming into proximity with me puts you in danger,

740
00:39:48,880 --> 00:39:51,640
Speaker 1: and all the warnings that could possibly come your way

741
00:39:52,080 --> 00:39:55,239
Speaker 1: that you ignore them shows true love for me. Yes,

742
00:39:56,360 --> 00:39:58,719
Speaker 1: I mean that's great, that's great. There's a lot going

743
00:39:58,760 --> 00:40:00,880
Speaker 1: on in that song. I think there are a lot

744
00:40:00,920 --> 00:40:02,840
Speaker 1: of ways that it can be read. Yeah, totally, and

745
00:40:03,560 --> 00:40:06,080
Speaker 1: but wise men one said wild Winds or Death to

746
00:40:06,160 --> 00:40:10,440
Speaker 1: the Candle, that's your opening line, bitch, don't talk to

747
00:40:10,560 --> 00:40:13,600
Speaker 1: me about bad songwriting, like you sound so stupid, like

748
00:40:13,680 --> 00:40:15,879
Speaker 1: I'm so sorry, but like, do not tell me bad

749
00:40:16,000 --> 00:40:18,759
Speaker 1: songwriting when these are the lyrics like get out of

750
00:40:18,840 --> 00:40:23,719
Speaker 1: town wild Winds. I believe that is a Romantics era

751
00:40:24,040 --> 00:40:29,279
Speaker 1: poet Tree reference right of like Transcendentalism, Like I'm getting

752
00:40:29,320 --> 00:40:33,239
Speaker 1: my shit mixed up. But it's like nature being sublime,

753
00:40:33,560 --> 00:40:37,640
Speaker 1: nature like you are powerless to it, like death to

754
00:40:37,719 --> 00:40:40,680
Speaker 1: the candle, like it is snuffing out this man made thing.

755
00:40:41,560 --> 00:40:46,919
Speaker 1: Like there's something about her art which is sublime, which

756
00:40:47,080 --> 00:40:50,200
Speaker 1: is like bigger than her, bigger than us, you know,

757
00:40:50,480 --> 00:40:54,640
Speaker 1: Like she's saying that like she she is a wild

758
00:40:54,760 --> 00:40:58,279
Speaker 1: wind and like people want to like cage that people

759
00:40:58,360 --> 00:41:01,000
Speaker 1: want to contain that people fear it because they don't

760
00:41:01,080 --> 00:41:04,800
Speaker 1: know it, because it's it has this inexplicable effect. I

761
00:41:04,880 --> 00:41:07,160
Speaker 1: think this album is like it doesn't talk about things

762
00:41:07,200 --> 00:41:09,120
Speaker 1: beyond her, and that's okay because I think it is

763
00:41:09,280 --> 00:41:12,759
Speaker 1: like her reckoning with like what she means, what her

764
00:41:12,840 --> 00:41:15,600
Speaker 1: life has been, what she wants it to be going forward.

765
00:41:15,640 --> 00:41:17,640
Speaker 1: And I think it's like I think Clara Beau is

766
00:41:17,800 --> 00:41:20,800
Speaker 1: such a beautiful closer because it's like, this is what

767
00:41:20,920 --> 00:41:24,640
Speaker 1: my legacy means, and someone someday will always like people

768
00:41:24,719 --> 00:41:28,480
Speaker 1: will always try to like build on it and then

769
00:41:28,520 --> 00:41:31,160
Speaker 1: maybe erase it and be like, oh, here's someone new

770
00:41:31,239 --> 00:41:34,400
Speaker 1: who reminds us of her but is better. It's like

771
00:41:34,480 --> 00:41:37,160
Speaker 1: a very bittersweet song. It's a little bittersweet, Like it's

772
00:41:37,239 --> 00:41:39,120
Speaker 1: like that idea.

773
00:41:38,920 --> 00:41:42,080
Speaker 2: That like you could be the one, and then when

774
00:41:42,160 --> 00:41:46,000
Speaker 2: that happens, it like comes with all these contradictions and

775
00:41:46,640 --> 00:41:49,960
Speaker 2: all these crazy things and like ultimately an ego check

776
00:41:50,000 --> 00:41:51,719
Speaker 2: at the end, you know what I mean. That's like

777
00:41:52,120 --> 00:41:53,800
Speaker 2: and I think that's why it's really fitting that that

778
00:41:53,920 --> 00:41:57,040
Speaker 2: song is last on the first album, because what I

779
00:41:57,400 --> 00:41:59,600
Speaker 2: love about this and the writing and why I do

780
00:41:59,760 --> 00:42:01,759
Speaker 2: think at some of the boldest writing she's done is

781
00:42:01,840 --> 00:42:06,200
Speaker 2: because she is not afraid to look crazy, like she

782
00:42:06,400 --> 00:42:09,320
Speaker 2: is not afraid to look like the biggest version of

783
00:42:09,400 --> 00:42:12,719
Speaker 2: all of her emotions. I think, thank you, Amy. The

784
00:42:12,840 --> 00:42:16,879
Speaker 2: capitalizing of Cam is vindictive as fuck. And I think

785
00:42:16,920 --> 00:42:19,840
Speaker 2: it's because she's a little vindictive. Yeah, and she is

786
00:42:20,000 --> 00:42:23,480
Speaker 2: really out here being that, So you being like, ugh,

787
00:42:23,640 --> 00:42:27,000
Speaker 2: she's vindictive, like for that. She knows that, you know

788
00:42:27,040 --> 00:42:29,040
Speaker 2: what I mean, Like, she gets it. She wrote the song,

789
00:42:29,200 --> 00:42:32,000
Speaker 2: she felt the emotion, she put it out there for everyone.

790
00:42:32,360 --> 00:42:34,800
Speaker 2: It wasn't a mistake to capitalize it, ki Am. I

791
00:42:34,880 --> 00:42:38,920
Speaker 2: mean she's feeling vindictive. She feels very hurt still from

792
00:42:39,000 --> 00:42:42,920
Speaker 2: that person trying to let me remind everyone destroy her

793
00:42:43,040 --> 00:42:46,640
Speaker 2: completely and take away her credibility. So the fact that

794
00:42:46,800 --> 00:42:51,120
Speaker 2: she turned that into what that song is, which is

795
00:42:51,200 --> 00:42:53,320
Speaker 2: when you take away all the battles and mussles and

796
00:42:53,320 --> 00:42:57,240
Speaker 2: all the headlines about it, it's a song about thanking

797
00:42:57,440 --> 00:43:00,279
Speaker 2: your bully for making you better, and that that is

798
00:43:00,320 --> 00:43:04,640
Speaker 2: gonna connect with her fans, with people that have experienced

799
00:43:04,680 --> 00:43:08,759
Speaker 2: that in the past, are experiencing it. She is who

800
00:43:08,840 --> 00:43:13,840
Speaker 2: she has always been, but an extremely elevated and still

801
00:43:14,680 --> 00:43:18,919
Speaker 2: ever challenging version of that, and I think that that's

802
00:43:20,000 --> 00:43:20,680
Speaker 2: fucking great.

803
00:43:20,800 --> 00:43:22,480
Speaker 1: And like I said, I think it's good that this

804
00:43:22,640 --> 00:43:23,359
Speaker 1: is polarizing.

805
00:43:23,960 --> 00:43:27,040
Speaker 2: I think it's good that not every single piece that

806
00:43:27,160 --> 00:43:29,759
Speaker 2: she ever puts out is like a ten out of

807
00:43:29,880 --> 00:43:31,920
Speaker 2: ten five stars, like in terms of the way that

808
00:43:31,960 --> 00:43:36,440
Speaker 2: it's received, because that would not be good for her

809
00:43:36,880 --> 00:43:37,520
Speaker 2: or for us.

810
00:43:37,960 --> 00:43:40,000
Speaker 1: I mean, I think she knew. It doesn't matter what

811
00:43:40,080 --> 00:43:41,920
Speaker 1: she knew or knows. I think there's no way this

812
00:43:42,040 --> 00:43:44,560
Speaker 1: album is like universally acclaimed.

813
00:43:44,760 --> 00:43:46,719
Speaker 2: No way, because it is like all these things, and

814
00:43:46,800 --> 00:43:49,680
Speaker 2: I'm just it is too long, it is too verbos,

815
00:43:49,719 --> 00:43:51,959
Speaker 2: it is to this, to that, too much of the same,

816
00:43:52,200 --> 00:43:54,160
Speaker 2: too much of this that the other thing. Like this's

817
00:43:54,200 --> 00:43:56,360
Speaker 2: gonna be so many things people can say about this

818
00:43:56,800 --> 00:43:59,880
Speaker 2: and different angles people can take. That's sort of just

819
00:44:00,080 --> 00:44:01,320
Speaker 2: don't get to the heart of it, which is that

820
00:44:01,400 --> 00:44:02,600
Speaker 2: the music is fucking great.

821
00:44:03,040 --> 00:44:05,719
Speaker 1: Internet seems to not care for the alchemy. It's like

822
00:44:05,920 --> 00:44:06,840
Speaker 1: my favorite.

823
00:44:06,840 --> 00:44:10,160
Speaker 2: I think the alchemy is romantic and fun and uzzy

824
00:44:10,560 --> 00:44:13,120
Speaker 2: and big and beautiful and gorgeous. And I think if

825
00:44:13,200 --> 00:44:16,680
Speaker 2: the lyrics are a little on the nose, that's fucking

826
00:44:16,840 --> 00:44:20,360
Speaker 2: great because it's someone being like, after all this noise

827
00:44:20,440 --> 00:44:23,720
Speaker 2: and all this like challenge and all this chaos.

828
00:44:23,960 --> 00:44:27,160
Speaker 1: I'm just gonna tell you my boyfriend who plays football,

829
00:44:27,520 --> 00:44:33,040
Speaker 1: touch down, ultimately, touchdown, Ultimately touchdown. It's actually a real culture.

830
00:44:33,120 --> 00:44:39,800
Speaker 1: Number eighty eight ultimately touchdown, touch down. Call the amate jersey,

831
00:44:40,000 --> 00:44:44,280
Speaker 1: come from the team, the clowns, take the cram. Baby,

832
00:44:44,560 --> 00:44:47,480
Speaker 1: I want to be Oh my god, I don't know.

833
00:44:48,120 --> 00:44:50,160
Speaker 1: It's so, it's adorable, it's great.

834
00:44:50,320 --> 00:44:52,480
Speaker 2: I love it, And can I shout out one of

835
00:44:52,520 --> 00:44:54,480
Speaker 2: my favorite songs that's been sneaky And this is why

836
00:44:54,520 --> 00:44:57,600
Speaker 2: you have to keep going, be patient with the album

837
00:44:57,640 --> 00:44:59,560
Speaker 2: and like, listen to the miss songs. I look in

838
00:44:59,600 --> 00:45:00,520
Speaker 2: People's windows.

839
00:45:00,880 --> 00:45:04,600
Speaker 1: Oh, I love that. Love this song. She's like again,

840
00:45:04,760 --> 00:45:06,239
Speaker 1: like she's not hiding from the fact that she's a

841
00:45:06,280 --> 00:45:09,160
Speaker 1: fucking freak obsessed, you know, Like the shortest song on

842
00:45:09,200 --> 00:45:12,520
Speaker 1: the album. Yeah, who can't relate. I guess people that

843
00:45:12,560 --> 00:45:15,640
Speaker 1: are insane, but like, there have been times after I've

844
00:45:15,680 --> 00:45:19,840
Speaker 1: had things dissolve where I've literally looked for that person,

845
00:45:20,480 --> 00:45:22,800
Speaker 1: like and I mean, what if you looked up and

846
00:45:22,880 --> 00:45:25,840
Speaker 1: we locked eyes one more time? Like that thing of

847
00:45:26,000 --> 00:45:29,239
Speaker 1: like I need to stay vigilant because it's not dead

848
00:45:29,320 --> 00:45:32,600
Speaker 1: for me. And I'm holding on to hope that it's

849
00:45:32,680 --> 00:45:35,840
Speaker 1: not dead for you for that one moment, like and

850
00:45:35,920 --> 00:45:38,120
Speaker 1: it's worth it for me to like put all this

851
00:45:38,320 --> 00:45:40,680
Speaker 1: energy and be this freak and look peer in from

852
00:45:40,680 --> 00:45:44,440
Speaker 1: the insides for that one moment and the urgency in

853
00:45:44,520 --> 00:45:47,319
Speaker 1: that song I love. I love that it abruptly ends,

854
00:45:47,760 --> 00:45:51,040
Speaker 1: almost like she's embarrassed about sharing the thought, like I

855
00:45:51,960 --> 00:45:54,680
Speaker 1: love it. It evokes this thing that you thought different

856
00:45:54,800 --> 00:45:57,799
Speaker 1: for her with such a personal corner, and it's it's

857
00:45:58,000 --> 00:46:01,320
Speaker 1: kind of not it's kind of universalized in this huge

858
00:46:01,440 --> 00:46:05,759
Speaker 1: album that like yeah, everyone's heard and like yeah, I mean,

859
00:46:06,520 --> 00:46:08,880
Speaker 1: I don't really care that it's a numbers ploy that

860
00:46:09,080 --> 00:46:10,880
Speaker 1: like thirty one so that I could have like the

861
00:46:10,880 --> 00:46:15,840
Speaker 1: biggest streaming debut and that the sales equivalences or the

862
00:46:15,880 --> 00:46:19,799
Speaker 1: streaming equivalences to unit sales whatever, blah blah blah blah.

863
00:46:19,800 --> 00:46:22,920
Speaker 1: I like the business side is something that like I

864
00:46:23,040 --> 00:46:25,880
Speaker 1: also am like for some reason tuning out. For me,

865
00:46:26,000 --> 00:46:30,880
Speaker 1: it's just like listen to the songs because if you do,

866
00:46:31,520 --> 00:46:33,560
Speaker 1: you'll get a song like but Daddy, I love him,

867
00:46:33,840 --> 00:46:36,320
Speaker 1: and you'll get to enjoy it because it sounds fucking

868
00:46:36,360 --> 00:46:38,080
Speaker 1: great and it's a lot of fun and also you'll

869
00:46:38,120 --> 00:46:41,960
Speaker 1: realize like it is actually incredibly risky for her to

870
00:46:42,080 --> 00:46:44,880
Speaker 1: say fuck off to her own fans. You know what

871
00:46:44,960 --> 00:46:45,359
Speaker 1: I'm saying.

872
00:46:45,440 --> 00:46:47,800
Speaker 2: It's like that to me is when the album, like

873
00:46:47,840 --> 00:46:49,520
Speaker 2: when I was first listening to it, when the album

874
00:46:49,840 --> 00:46:52,600
Speaker 2: really took off from me, was track six, But Daddy,

875
00:46:52,680 --> 00:46:53,200
Speaker 2: I Love Him.

876
00:46:53,680 --> 00:46:54,239
Speaker 1: I will say.

877
00:46:54,320 --> 00:46:57,799
Speaker 2: When I first started listening to the album, Fortnite took

878
00:46:57,840 --> 00:47:00,160
Speaker 2: a second for me. I was like, I know, I

879
00:47:00,280 --> 00:47:01,799
Speaker 2: feel like I know in my heart this is going

880
00:47:01,840 --> 00:47:03,799
Speaker 2: to be the single, So let me try to wrap

881
00:47:03,880 --> 00:47:05,680
Speaker 2: my head around that. The song has grown on.

882
00:47:05,760 --> 00:47:08,840
Speaker 1: Me so much. I'm struggling a little bit with Tortured

883
00:47:08,880 --> 00:47:11,200
Speaker 1: Poet's Department. The song like, to me, it's just a

884
00:47:11,400 --> 00:47:13,480
Speaker 1: little like I don't get it yet.

885
00:47:14,360 --> 00:47:18,160
Speaker 2: But then right after that, like the album like really

886
00:47:18,320 --> 00:47:20,280
Speaker 2: ticks off from me, and by the time but Daddy

887
00:47:20,280 --> 00:47:23,240
Speaker 2: I Love Him was happening, I was like, this feels

888
00:47:23,360 --> 00:47:29,120
Speaker 2: like like a like a spiritual successor to like read

889
00:47:29,200 --> 00:47:30,799
Speaker 2: and like all too well, like the fact that it's

890
00:47:30,840 --> 00:47:32,880
Speaker 2: like over five minutes long and it's like this like

891
00:47:33,280 --> 00:47:37,200
Speaker 2: epic narrative and it being that long and containing so

892
00:47:37,480 --> 00:47:41,520
Speaker 2: much like anger towards people who like, quote unquote want

893
00:47:41,560 --> 00:47:44,120
Speaker 2: the best for her but could never actually understand her.

894
00:47:44,320 --> 00:47:44,520
Speaker 1: Yeah.

895
00:47:44,600 --> 00:47:47,040
Speaker 2: I think that also speaks to we can't be friends.

896
00:47:47,239 --> 00:47:51,520
Speaker 2: On Ariana's album, I think these girls are reckoning with

897
00:47:51,640 --> 00:47:55,719
Speaker 2: the fact that people that they love and appreciate are

898
00:47:55,800 --> 00:47:57,120
Speaker 2: driving them fucking nuts.

899
00:47:57,200 --> 00:48:02,800
Speaker 1: Well, it's it's now becoming a somewhat phenomenon, somewhat of

900
00:48:02,840 --> 00:48:07,440
Speaker 1: a phenomenon where it's like you have Doja openly violently

901
00:48:07,520 --> 00:48:12,080
Speaker 1: being like, fuck my girls, and it's like, like the

902
00:48:12,239 --> 00:48:15,879
Speaker 1: girl Like I think like this, like this is when

903
00:48:17,000 --> 00:48:21,240
Speaker 1: stand culture starts to like evolve into a new stage

904
00:48:21,280 --> 00:48:25,840
Speaker 1: where like maybe it's unhealthy for everyone, yes, like including

905
00:48:25,920 --> 00:48:29,800
Speaker 1: the stands, including the people they like worship. It's like

906
00:48:30,280 --> 00:48:32,440
Speaker 1: if someone and I'm not gonna name names, but there

907
00:48:32,440 --> 00:48:35,879
Speaker 1: are people out there who fully embrace the fans. Yeah.

908
00:48:36,160 --> 00:48:41,400
Speaker 1: And pathology, Yeah, there's pathology. Like it's not great if

909
00:48:41,480 --> 00:48:45,760
Speaker 1: you are out there completely embracing all of the mania

910
00:48:46,040 --> 00:48:48,920
Speaker 1: in that. Yeah, if you're inviting more mania into your

911
00:48:49,000 --> 00:48:54,520
Speaker 1: life because it is mania. Yeah. And yeah, it's perfect blue.

912
00:48:54,760 --> 00:48:58,600
Speaker 1: It's perfect blue, and it's actually really culture number three. Uh,

913
00:48:58,719 --> 00:49:02,000
Speaker 1: it's perfect blue. And I also think like it's a

914
00:49:02,080 --> 00:49:05,719
Speaker 1: message to people like, listen, if I'm going to fuck up,

915
00:49:06,360 --> 00:49:08,960
Speaker 1: just let me fuck up. Just let me do it,

916
00:49:09,120 --> 00:49:13,400
Speaker 1: because because there's actually like there's no way, yeah, that

917
00:49:13,560 --> 00:49:17,040
Speaker 1: I'm gonna stop living my life for everyone, and you

918
00:49:17,160 --> 00:49:21,440
Speaker 1: wouldn't really want that, Like who would want their favorite

919
00:49:21,760 --> 00:49:25,800
Speaker 1: artists to not live their fucking life and make mistakes

920
00:49:25,880 --> 00:49:29,000
Speaker 1: and like be able to be the messy fucking version. Right,

921
00:49:29,840 --> 00:49:33,120
Speaker 1: it's not Twitch Place Pokemon. I was just gonna say,

922
00:49:33,400 --> 00:49:36,319
Speaker 1: you know what I'm talking about, Yeah, oh yeah, were

923
00:49:36,320 --> 00:49:40,160
Speaker 1: you following Twitch Place Pokemon. This is when Twitch literally

924
00:49:40,280 --> 00:49:44,600
Speaker 1: first started first started out whereas everyone was inputting, it

925
00:49:44,760 --> 00:49:49,600
Speaker 1: was like millions of people inputting like up, down, ab left, right, yes,

926
00:49:49,960 --> 00:49:53,600
Speaker 1: a game of Pokemon red or Pokemon Blue, and then

927
00:49:53,640 --> 00:49:55,400
Speaker 1: somehow they got all the way to the end. But

928
00:49:55,480 --> 00:49:57,440
Speaker 1: it was it was like your character is kind of

929
00:49:57,440 --> 00:50:00,680
Speaker 1: like walking up and down and like dying, like remember this.

930
00:50:00,960 --> 00:50:05,440
Speaker 1: It was like by committee. You cannot do this. You

931
00:50:06,040 --> 00:50:08,640
Speaker 1: cannot live a life by not live a life by committee.

932
00:50:08,640 --> 00:50:10,719
Speaker 1: And that's real coachure number ten. You cannot live a

933
00:50:10,760 --> 00:50:13,680
Speaker 1: life by committee. It'll end up being Madam web. It'll

934
00:50:13,760 --> 00:50:17,239
Speaker 1: end up being Madam Webb. I didn't see it oh

935
00:50:17,320 --> 00:50:18,359
Speaker 1: you should. It's so good.

936
00:50:18,560 --> 00:50:22,680
Speaker 2: No, that invalidates everything we've ever said. Madam Web is

937
00:50:22,680 --> 00:50:25,280
Speaker 2: the best film of the year, Last calls, canceled, Awards

938
00:50:25,320 --> 00:50:28,600
Speaker 2: taken away, oh my god, trophies, stripped of our trophies.

939
00:50:28,640 --> 00:50:31,640
Speaker 1: Oh my god. I would love to ultimately one day

940
00:50:32,120 --> 00:50:34,640
Speaker 1: my awards taken away from me, stripped of my trophy.

941
00:50:35,400 --> 00:50:37,319
Speaker 1: That I think is such a Chikh phrase. They were

942
00:50:37,400 --> 00:50:40,600
Speaker 1: stripped of their trophies. I think Taylor wants that too.

943
00:50:40,680 --> 00:50:43,360
Speaker 1: I think Taylor secretly wants is pining for a scene,

944
00:50:43,840 --> 00:50:46,959
Speaker 1: just for the cinema of it to be like no, don't,

945
00:50:47,520 --> 00:50:50,120
Speaker 1: but donny, I love it well, like literally, like we're

946
00:50:50,160 --> 00:50:54,960
Speaker 1: taking your Grammys away, No, all five hundred of them.

947
00:50:55,080 --> 00:50:56,880
Speaker 1: What would she have to do to have her Grammys

948
00:50:56,920 --> 00:50:59,520
Speaker 1: taken away? I don't know, I mean she, I don't know.

949
00:50:59,600 --> 00:51:00,320
Speaker 1: What would she have to do.

950
00:51:00,440 --> 00:51:03,239
Speaker 2: She has to come out as the reason why there

951
00:51:03,280 --> 00:51:07,719
Speaker 2: are natural disasters? Right, yeah, hey, I've ever heard of hurricanes?

952
00:51:08,000 --> 00:51:10,040
Speaker 2: That was me when I pointed at the crowd and

953
00:51:10,239 --> 00:51:11,239
Speaker 2: sow pallo, right.

954
00:51:11,480 --> 00:51:14,480
Speaker 1: I I was thinking more something along the lines of

955
00:51:14,560 --> 00:51:18,960
Speaker 1: like the Recording Academy, like she you know, like she

956
00:51:19,160 --> 00:51:23,399
Speaker 1: does some equivalent of the slap she did the slap,

957
00:51:23,600 --> 00:51:25,560
Speaker 1: she certainly would have come out, would not have been

958
00:51:25,640 --> 00:51:29,480
Speaker 1: invited to come out of Coachella. Oh God, here we go,

959
00:51:30,000 --> 00:51:34,359
Speaker 1: Here we go. Smith's back, y'all. This is it's an

960
00:51:34,400 --> 00:51:37,719
Speaker 1: excellent album. We love it and of course we do

961
00:51:37,800 --> 00:51:39,880
Speaker 1: because it's good, because it's good. And but if you

962
00:51:39,960 --> 00:51:45,160
Speaker 1: had to tweet that one viral congratulations, congratulations on your

963
00:51:45,200 --> 00:51:46,000
Speaker 1: contribution show. No.

964
00:51:46,600 --> 00:51:49,359
Speaker 2: I love tweets, I love Twitter. I think I think

965
00:51:49,400 --> 00:51:51,840
Speaker 2: that it's great. I'm so sorry, ze it's X.

966
00:51:51,960 --> 00:51:55,120
Speaker 1: I forgot. I think it's great. I think it's I

967
00:51:55,160 --> 00:52:00,239
Speaker 1: think it's worthy. Well, they're supposed to be because it's

968
00:52:00,400 --> 00:52:02,960
Speaker 1: it's it's there's zeats, it's it's X. I'm sorry. But

969
00:52:03,000 --> 00:52:06,600
Speaker 1: if you're calling Twitter called posts, now, no, they're called zeats.

970
00:52:06,880 --> 00:52:10,440
Speaker 1: And I don't make the rules. I just say the rules. Now.

971
00:52:10,480 --> 00:52:14,120
Speaker 1: I want baked zeats, okay, I want big seats too,

972
00:52:14,680 --> 00:52:18,839
Speaker 1: and wash out the slimmer ah no whom lovers call

973
00:52:18,960 --> 00:52:22,640
Speaker 1: it beats. Mussy will be to my big ZD place

974
00:52:31,880 --> 00:52:36,680
Speaker 1: as promised, we are here to talk about twenty thirteen,

975
00:52:37,400 --> 00:52:40,279
Speaker 1: a cultural excavation. Thank you for making it all the

976
00:52:40,320 --> 00:52:42,279
Speaker 1: way here. If you don't care for Taylor. If you

977
00:52:42,280 --> 00:52:46,080
Speaker 1: don't care for the album and you're still listening, Bravo,

978
00:52:46,360 --> 00:52:48,799
Speaker 1: brava to you. Oh can I just say I did

979
00:52:48,840 --> 00:52:53,800
Speaker 1: a Berri's Oatly class on Monday. So many readers Katie's

980
00:52:53,800 --> 00:52:59,239
Speaker 1: publicist finalists, including Lindsay Clayton, who fucking rocks. I have

981
00:52:59,360 --> 00:53:02,239
Speaker 1: to say, I see you readers at Barry's. And if

982
00:53:02,320 --> 00:53:05,400
Speaker 1: you are a reader at Barry's, oh, you actually are

983
00:53:05,400 --> 00:53:09,360
Speaker 1: a Kyle. That's how k this is men or women.

984
00:53:09,640 --> 00:53:13,400
Speaker 2: If you are a reader, publicist, Katie finalist and you

985
00:53:13,520 --> 00:53:15,520
Speaker 2: regularly go to Barry's, you're a Kyle.

986
00:53:15,600 --> 00:53:18,480
Speaker 1: You're a Kyle. It doesn't matter male, female, non binary,

987
00:53:18,560 --> 00:53:21,479
Speaker 1: You're Kyle Kyle and as we know, the most famous Kyle. Wait,

988
00:53:21,600 --> 00:53:23,440
Speaker 1: we actually have this conversation. This is a fun thing

989
00:53:23,520 --> 00:53:27,960
Speaker 1: to ask you who is the most famous Kyle. I

990
00:53:28,120 --> 00:53:29,240
Speaker 1: know you think Richards.

991
00:53:29,520 --> 00:53:32,120
Speaker 2: I didn't necessarily say that. What I'm asking you what

992
00:53:32,239 --> 00:53:34,680
Speaker 2: you think who is the most famous Kyle x Y.

993
00:53:38,000 --> 00:53:38,400
Speaker 1: Period.

994
00:53:39,360 --> 00:53:41,360
Speaker 2: I can't argue with that one, but you think it's Richards.

995
00:53:42,080 --> 00:53:45,359
Speaker 2: So there seems to be like a discussion who's more

996
00:53:45,440 --> 00:53:47,920
Speaker 2: famous certain gig group chats.

997
00:53:47,960 --> 00:53:51,200
Speaker 1: I think a one that I'm in. Okay, Kyle Richards,

998
00:53:51,280 --> 00:53:54,640
Speaker 1: Kyle McLaughlin and Kyle Chandler seem to be the three.

999
00:53:55,000 --> 00:53:58,759
Speaker 1: Kyle McLachlan, you think Kyle McLaughlin is more famous, like

1000
00:53:58,840 --> 00:54:01,399
Speaker 1: in terms of people know that his name. Yes, then

1001
00:54:01,480 --> 00:54:05,560
Speaker 1: Kyle Richards, Yes, I think it's demographic. I think it's

1002
00:54:05,920 --> 00:54:08,480
Speaker 1: I think and it's very that guy famous, like, oh

1003
00:54:08,520 --> 00:54:09,279
Speaker 1: I know that guy.

1004
00:54:09,680 --> 00:54:13,279
Speaker 2: He was in the original Dude, yell at me, Oh my,

1005
00:54:14,200 --> 00:54:16,640
Speaker 2: not yell at me. Do not raise your voice in

1006
00:54:16,719 --> 00:54:21,160
Speaker 2: the way that you just did ever again. You're you'll

1007
00:54:21,200 --> 00:54:23,960
Speaker 2: be going to the slammer fresh in.

1008
00:54:26,640 --> 00:54:33,160
Speaker 1: The slammer first, zed see it is? You think they

1009
00:54:33,200 --> 00:54:41,960
Speaker 1: have Z Why are we so good? Okay? So you

1010
00:54:42,040 --> 00:54:45,320
Speaker 1: think Colmain? Okay, Queen, how do we how do we

1011
00:54:45,360 --> 00:54:50,920
Speaker 1: get into Kyle? If you were there and you will understand,

1012
00:54:51,200 --> 00:54:53,480
Speaker 1: we had all these bits planned and we did most

1013
00:54:53,520 --> 00:54:55,479
Speaker 1: of them. I was you never got your almond suit.

1014
00:54:55,680 --> 00:54:57,080
Speaker 1: I never got my almonds suit. I was gonna beat

1015
00:54:57,120 --> 00:54:58,959
Speaker 1: up someone in an almond costume at the Barris class

1016
00:54:58,960 --> 00:55:01,000
Speaker 1: because it was an oatly spot sort of that. But

1017
00:55:01,400 --> 00:55:05,320
Speaker 1: I was stupid, bitch. It wouldn't have worked. There was

1018
00:55:05,360 --> 00:55:06,600
Speaker 1: not in a space people were on the floor. It

1019
00:55:06,600 --> 00:55:09,960
Speaker 1: would have been dangerous. I got a few jokes and

1020
00:55:10,040 --> 00:55:12,080
Speaker 1: I was like, oh wait, this is not It's hard

1021
00:55:12,120 --> 00:55:15,320
Speaker 1: to like do bits while there's a fitness class going on.

1022
00:55:15,440 --> 00:55:16,719
Speaker 1: Can I just say, hey, we actually have.

1023
00:55:16,760 --> 00:55:18,799
Speaker 2: To move you from D twenty nine because Bowen needs

1024
00:55:18,840 --> 00:55:20,920
Speaker 2: that space because he's gonna do a bit where he fights.

1025
00:55:21,160 --> 00:55:23,200
Speaker 1: Yeah, someone in an amendcost, but they were they were

1026
00:55:23,239 --> 00:55:25,520
Speaker 1: prepared to like go all out and like do whatever.

1027
00:55:25,560 --> 00:55:27,440
Speaker 1: I was like, no, I think people want to come

1028
00:55:27,520 --> 00:55:30,960
Speaker 1: for a class. So I like ran on the treadmill

1029
00:55:31,000 --> 00:55:33,080
Speaker 1: for like two minutes, and then I was so out

1030
00:55:33,080 --> 00:55:36,120
Speaker 1: of breath that like my brain was like, we're you're

1031
00:55:36,160 --> 00:55:39,279
Speaker 1: not performing right now. You're you're You're actually gonna like

1032
00:55:39,560 --> 00:55:41,840
Speaker 1: not do that. And then when I tried to everything

1033
00:55:41,880 --> 00:55:43,359
Speaker 1: that came out of my mouth made no sense. When

1034
00:55:43,360 --> 00:55:44,880
Speaker 1: Lindsay threw it over to me, like Bowen, what do

1035
00:55:44,920 --> 00:55:47,480
Speaker 1: you think? I was like, how am I doing? Like

1036
00:55:47,600 --> 00:55:52,839
Speaker 1: it was? I was truly so not myself. I felt

1037
00:55:52,880 --> 00:55:55,560
Speaker 1: like Grimes at Coachelle. I was like, everything's going wrong.

1038
00:55:56,160 --> 00:56:01,439
Speaker 1: I'm bad Crimes Coachell. I felt like crimes that coach. Wow,

1039
00:56:01,480 --> 00:56:03,719
Speaker 1: So thank you for coming and thank you for being

1040
00:56:03,760 --> 00:56:05,440
Speaker 1: patient with me that it was a lot of fun.

1041
00:56:05,600 --> 00:56:08,040
Speaker 2: I saw some people that I follow were in your class,

1042
00:56:08,239 --> 00:56:10,960
Speaker 2: and as someone said that immediately when the class started,

1043
00:56:11,000 --> 00:56:12,920
Speaker 2: you said, this first sprint is going to be at twenty,

1044
00:56:13,160 --> 00:56:14,960
Speaker 2: which I think is iconic.

1045
00:56:15,440 --> 00:56:20,640
Speaker 1: I love it. But this one finalist, Kyle yeah sprinting

1046
00:56:20,680 --> 00:56:24,439
Speaker 1: at a fourteen. Jeez, I can't believe the most lives

1047
00:56:24,480 --> 00:56:27,800
Speaker 1: on his twelve. Most I've done his ten fourteen is

1048
00:56:28,400 --> 00:56:31,520
Speaker 1: but this guy also had redwood tree legs, tall, tall

1049
00:56:31,600 --> 00:56:35,880
Speaker 1: motherfucker and he was Taylor Swift or Travis Kelceer, Travis Kelsey.

1050
00:56:36,000 --> 00:56:40,719
Speaker 1: He was a full Kyle, full on and if you're

1051
00:56:40,719 --> 00:56:46,360
Speaker 1: a Kyle out there, keep running. Hey, Kyle, push it

1052
00:56:46,480 --> 00:56:48,040
Speaker 1: to fourteen. Let's go.

1053
00:56:48,560 --> 00:56:51,600
Speaker 2: This is for the girlies who go to Berri's and

1054
00:56:51,680 --> 00:56:53,640
Speaker 2: instead of was in into the music and the instructure,

1055
00:56:53,760 --> 00:56:56,600
Speaker 2: they pop in Lost Coach. They want to hear torture,

1056
00:56:56,719 --> 00:56:59,600
Speaker 2: poets discourse. Okay, and when we start to hit a

1057
00:56:59,680 --> 00:57:05,560
Speaker 2: really good take, they pressed fourteen. Let's talk about twenty thirteen.

1058
00:57:05,800 --> 00:57:08,880
Speaker 2: We needed an episode like this. In person, I would

1059
00:57:08,880 --> 00:57:10,960
Speaker 2: say even to talk about this year, it's a big one.

1060
00:57:11,440 --> 00:57:13,279
Speaker 1: This is one of the most major years. I think

1061
00:57:13,320 --> 00:57:17,160
Speaker 1: we're gonna end on music, because the music is major.

1062
00:57:18,240 --> 00:57:19,560
Speaker 1: I think let's start with film.

1063
00:57:20,240 --> 00:57:23,360
Speaker 2: You know, in starting with film, what you're gonna find

1064
00:57:24,280 --> 00:57:27,720
Speaker 2: is that this was the year of Frozen. And can

1065
00:57:27,800 --> 00:57:29,640
Speaker 2: I let me just talk about this for a second.

1066
00:57:30,120 --> 00:57:33,240
Speaker 1: Do you remember And this is again why this is

1067
00:57:33,280 --> 00:57:36,080
Speaker 1: a valid worthy segment because we relate it to our lives.

1068
00:57:36,960 --> 00:57:40,040
Speaker 1: Frozen came out and Papa Roulette did a Frozen sketch.

1069
00:57:40,920 --> 00:57:42,760
Speaker 1: What was the Frozen sketch?

1070
00:57:42,920 --> 00:57:46,280
Speaker 2: It was literally like the Frozen sketch was Amanda was

1071
00:57:46,280 --> 00:57:49,600
Speaker 2: playing Anna and Tessa was playing Elsa. And Elsa was like,

1072
00:57:49,880 --> 00:57:51,280
Speaker 2: I have powers of snow.

1073
00:57:51,720 --> 00:57:52,080
Speaker 1: Uh huh.

1074
00:57:52,160 --> 00:57:55,080
Speaker 2: And Amanda was like, you're a lesbian. Oh, and I

1075
00:57:55,880 --> 00:57:58,120
Speaker 2: feel like it was ahead of its time. It was

1076
00:57:58,880 --> 00:58:00,440
Speaker 2: and it was very like she was, It's just very

1077
00:58:00,600 --> 00:58:03,720
Speaker 2: like with winds, I can create fractals. And it's like,

1078
00:58:03,800 --> 00:58:05,560
Speaker 2: I think that you're having a crisis and you're a

1079
00:58:05,640 --> 00:58:07,800
Speaker 2: lesbian and if you're a lesbian, you can just say

1080
00:58:07,840 --> 00:58:09,800
Speaker 2: that we can We're we're a good girl.

1081
00:58:09,960 --> 00:58:11,640
Speaker 1: Yeah. She's like, no, I have to leave.

1082
00:58:11,600 --> 00:58:14,360
Speaker 2: Town and create a new house some ice and snow.

1083
00:58:14,760 --> 00:58:16,360
Speaker 2: She's like, I feel like you are going through it

1084
00:58:16,480 --> 00:58:19,000
Speaker 2: huh like that was kind of the engine of the sketch.

1085
00:58:19,320 --> 00:58:23,960
Speaker 2: And I remember it played to silence, not because it

1086
00:58:24,080 --> 00:58:29,120
Speaker 2: wasn't funny because rhyme, but because no one knew Frozen yet,

1087
00:58:29,400 --> 00:58:33,080
Speaker 2: because people forget Frozen was one of the slowest burden.

1088
00:58:33,200 --> 00:58:36,160
Speaker 1: It was a slow bird in history because it might

1089
00:58:36,160 --> 00:58:39,600
Speaker 1: as well have been a fucking rustic book report the

1090
00:58:39,720 --> 00:58:42,320
Speaker 1: way you were like trying to burn the pages at

1091
00:58:42,400 --> 00:58:45,960
Speaker 1: the stove at the fireplace. Slow. It was the Pirates

1092
00:58:46,040 --> 00:58:51,720
Speaker 1: of Caribbean. Uh huh, of that's a slow bird. That

1093
00:58:51,880 --> 00:58:54,040
Speaker 1: ride is a slow bird. That ride could take upwards

1094
00:58:54,040 --> 00:58:56,760
Speaker 1: if they're a half hour. Sometimes if the boats aren't

1095
00:58:56,800 --> 00:58:58,920
Speaker 1: going quick, you'll be sitting with the pirates for a

1096
00:58:59,080 --> 00:59:01,520
Speaker 1: really long time. Oh yeah, I hope you like Yoho Ho.

1097
00:59:02,000 --> 00:59:05,040
Speaker 1: Hope you like Yoho Ho and a woman chasing a

1098
00:59:05,120 --> 00:59:07,000
Speaker 1: pirate around with a rolling pin. Yeah, I hope you

1099
00:59:07,160 --> 00:59:11,520
Speaker 1: like girl Boss energy because we're sitting on pirates and

1100
00:59:11,760 --> 00:59:14,560
Speaker 1: Frozen is the beginning of girl Boss. Where were you

1101
00:59:14,680 --> 00:59:18,240
Speaker 1: when you first heard the amazing song Let It Go?

1102
00:59:18,520 --> 00:59:19,960
Speaker 1: I was with you. I think I think we went

1103
00:59:20,000 --> 00:59:21,320
Speaker 1: to go see it together. We did.

1104
00:59:21,480 --> 00:59:25,080
Speaker 2: I saw it with gay guys. I saw it with kids,

1105
00:59:25,240 --> 00:59:26,760
Speaker 2: and then I saw it with the general public on

1106
00:59:26,840 --> 00:59:27,240
Speaker 2: a plane.

1107
00:59:27,400 --> 00:59:31,360
Speaker 1: And what was your favorite viewing experience? Well, the gay

1108
00:59:31,480 --> 00:59:34,120
Speaker 1: guys okay, a us huh, we saw it. I think

1109
00:59:34,280 --> 00:59:37,680
Speaker 1: like the first week it came out, can we people

1110
00:59:37,760 --> 00:59:40,440
Speaker 1: were not gagged. I left the theater being like that

1111
00:59:40,600 --> 00:59:43,760
Speaker 1: was okay. Yeah, Well, you're famously a tangled entangled girl

1112
00:59:43,800 --> 00:59:46,080
Speaker 1: through Yeah, I'm a frozen girl. You have else the

1113
00:59:46,160 --> 00:59:47,920
Speaker 1: hair period period.

1114
00:59:48,080 --> 00:59:50,640
Speaker 2: I'm definitely also coated, which is tough for me as

1115
00:59:50,720 --> 00:59:52,200
Speaker 2: the Hona of our friendship.

1116
00:59:52,280 --> 00:59:54,000
Speaker 1: I know I was gonna say, I feel like we've

1117
00:59:54,040 --> 00:59:58,240
Speaker 1: always been. You've been the Hona. I'm still the ana.

1118
00:59:58,520 --> 01:00:01,000
Speaker 1: Uh huh, guy, Say a rose any other thorn? A

1119
01:00:01,120 --> 01:00:04,920
Speaker 1: rose by any other bud? What is the name? A

1120
01:00:05,040 --> 01:00:09,080
Speaker 1: rose by any other name? I like as any other thorn.

1121
01:00:09,200 --> 01:00:11,920
Speaker 1: I mean, Frozen is ten things they hate about you

1122
01:00:11,960 --> 01:00:14,440
Speaker 1: the musical. Say that again. Frozen is ten things they

1123
01:00:14,440 --> 01:00:16,880
Speaker 1: hate about you the musical one more time. Frozen is

1124
01:00:17,000 --> 01:00:18,280
Speaker 1: Taming of the Shrew of the musical.

1125
01:00:18,400 --> 01:00:22,960
Speaker 2: There you go, and that's real culture. Frozen one number forty.

1126
01:00:23,480 --> 01:00:25,480
Speaker 2: Frozen is the show of the music.

1127
01:00:26,000 --> 01:00:29,400
Speaker 1: It's like, you can't date until your sister does, right, Yeah,

1128
01:00:30,240 --> 01:00:31,760
Speaker 1: you're dead ass. I'm dead ass.

1129
01:00:31,880 --> 01:00:35,240
Speaker 2: I'll never forget how happy I was for Aunta when

1130
01:00:35,320 --> 01:00:36,640
Speaker 2: the gates finally opens.

1131
01:00:36,840 --> 01:00:40,920
Speaker 1: Uh huh. When she sang finally they're opening up the gates,

1132
01:00:41,440 --> 01:00:44,720
Speaker 1: I said, is that the song it's called for? The

1133
01:00:44,800 --> 01:00:50,240
Speaker 1: finally they are? I'm so happy girl. I'm gonna shake

1134
01:00:50,520 --> 01:00:55,120
Speaker 1: my ass and sit on some visiting dick. That's what

1135
01:00:55,280 --> 01:00:58,760
Speaker 1: Anna said. Anna said, I'm so happy that I get

1136
01:00:58,800 --> 01:01:02,520
Speaker 1: to see some dick. We had kinds of dick coming

1137
01:01:02,640 --> 01:01:05,320
Speaker 1: into Erindale. Open up the goal, Open up the gates.

1138
01:01:07,120 --> 01:01:10,040
Speaker 1: Frozen became the second animated film after Toy Story three

1139
01:01:10,120 --> 01:01:12,480
Speaker 1: to gross one billion dollars and became the highest grossing

1140
01:01:12,520 --> 01:01:16,600
Speaker 1: animated film at release. Congrats congrats to her. I think

1141
01:01:16,640 --> 01:01:21,040
Speaker 1: Frozen two beat that record. Later Frozen did suck, although

1142
01:01:21,040 --> 01:01:22,960
Speaker 1: I will say you'd had some bops. Still haven't seen,

1143
01:01:23,800 --> 01:01:29,160
Speaker 1: Still haven't seen. Top grossing film Frozen internationally, iron Man three, Domestic,

1144
01:01:29,400 --> 01:01:33,160
Speaker 1: Who Cares? Okay? Best Picture Oscar twelve years of Slave

1145
01:01:33,640 --> 01:01:38,000
Speaker 1: nine nominations. This was the beginning of Lupida. Yes. The

1146
01:01:38,080 --> 01:01:40,520
Speaker 1: Best Picture win made McQueen the first black British producer

1147
01:01:40,560 --> 01:01:42,360
Speaker 1: to ever received the award, and the first black British

1148
01:01:42,400 --> 01:01:44,640
Speaker 1: director of a Best Picture winner. Okay, let's look at it,

1149
01:01:44,640 --> 01:01:46,840
Speaker 1: because Okay, there are these handy tables now on some

1150
01:01:46,960 --> 01:01:48,720
Speaker 1: of these that I think we should be bringing to

1151
01:01:48,760 --> 01:01:51,160
Speaker 1: the rest of the years that we do. Toy was

1152
01:01:51,200 --> 01:01:54,160
Speaker 1: a slave. I'm seeing a lot of American hustle. Gravity.

1153
01:01:54,440 --> 01:01:56,320
Speaker 1: I was with you. Did we see gravity together? I

1154
01:01:56,400 --> 01:02:00,000
Speaker 1: believe we did. I love gravity. I love gravity so much.

1155
01:02:00,000 --> 01:02:02,000
Speaker 1: I think at the ending all the time, I never

1156
01:02:02,040 --> 01:02:03,000
Speaker 1: want to see that movie again.

1157
01:02:03,360 --> 01:02:05,440
Speaker 2: I don't think I could sit through it one more time.

1158
01:02:05,560 --> 01:02:07,280
Speaker 2: And it's so funny to me, Like sometimes I will

1159
01:02:07,320 --> 01:02:10,280
Speaker 2: catch people watching gravity on a plane. Why any movie

1160
01:02:10,360 --> 01:02:12,720
Speaker 2: about an air disaster on a plane? I just want

1161
01:02:12,800 --> 01:02:15,600
Speaker 2: to know what that person's like lifestyle is, Like what

1162
01:02:15,880 --> 01:02:17,880
Speaker 2: got them to this point where they are okay and

1163
01:02:18,000 --> 01:02:23,160
Speaker 2: can spiritually and physically maintain composure? When you're watching shit

1164
01:02:23,320 --> 01:02:25,520
Speaker 2: explode in the air and a woman carene through space?

1165
01:02:25,760 --> 01:02:29,120
Speaker 1: Is it like when I'm eating my lunch and I'm

1166
01:02:29,160 --> 01:02:34,040
Speaker 1: watching YouTube of a recipe of another dish, I think,

1167
01:02:34,080 --> 01:02:36,400
Speaker 1: so okay, but it's not as dangerous. It's not as

1168
01:02:36,480 --> 01:02:39,000
Speaker 1: dangerous like when people watch that shit in the air.

1169
01:02:39,080 --> 01:02:42,320
Speaker 1: I'm like, what is going on. Maybe it comforts them

1170
01:02:42,360 --> 01:02:43,960
Speaker 1: because they're like, well, it can't be as bad as this.

1171
01:02:44,200 --> 01:02:47,360
Speaker 1: Of course, I'm gagged for this Keanu Reeves movie that

1172
01:02:47,480 --> 01:02:49,960
Speaker 1: he's making, which is why it's called The Entertainment System

1173
01:02:50,080 --> 01:02:53,560
Speaker 1: Is Down. It's it's a fucking thriller on a plane,

1174
01:02:54,120 --> 01:02:56,720
Speaker 1: and like chaos ensues when the entertainment system on the

1175
01:02:56,760 --> 01:02:59,520
Speaker 1: plane goes down, no one can watch movies and everyone

1176
01:02:59,560 --> 01:03:02,440
Speaker 1: goes crazy. Wow, isn't that a great And that's like

1177
01:03:02,520 --> 01:03:05,400
Speaker 1: and it's like an actual grounded But I think it's action.

1178
01:03:05,680 --> 01:03:06,960
Speaker 1: I think it's like it's like a stake's on a

1179
01:03:07,000 --> 01:03:09,560
Speaker 1: plane thing. I love the title. It's called the Entertainment

1180
01:03:09,560 --> 01:03:11,320
Speaker 1: System Is Down. Oh I love Isn't that great?

1181
01:03:11,920 --> 01:03:15,840
Speaker 2: That's really good because that would be use for serious

1182
01:03:15,960 --> 01:03:17,640
Speaker 2: concern I would jump into action.

1183
01:03:18,320 --> 01:03:22,240
Speaker 1: Probably made by Boeing. Okay, this was so Dallas. This

1184
01:03:22,400 --> 01:03:25,000
Speaker 1: was the maconnaissance. This isis this was the one we

1185
01:03:25,120 --> 01:03:30,960
Speaker 1: were in the heart of the mconnaissance. I suppose it

1186
01:03:31,040 --> 01:03:33,760
Speaker 1: was Dallas Buyer's Club. It was True Detective, it was Interstellar.

1187
01:03:34,560 --> 01:03:39,680
Speaker 1: There was that period Lincoln Lawyer. Yeah, yeah, I think

1188
01:03:39,720 --> 01:03:43,840
Speaker 1: that's one. Yeah, us not lost coach talking about Lincoln.

1189
01:03:43,840 --> 01:03:47,520
Speaker 1: I know, know, and let's keep going blue jazzmine Okay, Lynchet.

1190
01:03:48,520 --> 01:03:53,240
Speaker 1: This was the iconic moment of Jennifer Lawrence falling at

1191
01:03:53,280 --> 01:03:55,720
Speaker 1: the Oscars, a moment that was nominated at the Lost

1192
01:03:55,720 --> 01:03:56,320
Speaker 1: Culture Words.

1193
01:03:56,520 --> 01:03:59,760
Speaker 2: Yes, Jennifer most shocking moment, the most shocking moment in

1194
01:03:59,800 --> 01:04:03,480
Speaker 2: his She went down, our girl down, but she got

1195
01:04:03,560 --> 01:04:06,040
Speaker 2: up and won. Not only does she get up, she

1196
01:04:06,160 --> 01:04:08,960
Speaker 2: got up and she won and she won. Honey, remember

1197
01:04:09,200 --> 01:04:12,720
Speaker 2: when One Direction was a band? I do, so does

1198
01:04:12,960 --> 01:04:15,720
Speaker 2: everyone in twenty thirteen, because guess what was the best

1199
01:04:15,800 --> 01:04:19,360
Speaker 2: selling album of twenty thirteen, Midnight Memory Midnight Memories by

1200
01:04:19,400 --> 01:04:21,400
Speaker 2: One Direction. Name one song from it.

1201
01:04:22,000 --> 01:04:25,439
Speaker 1: So we danced on that to the best song ever?

1202
01:04:25,600 --> 01:04:27,800
Speaker 1: Oh wow, that's actually good. You could do that. Yeah,

1203
01:04:28,680 --> 01:04:30,560
Speaker 1: Lost Culture is this culture?

1204
01:04:31,160 --> 01:04:34,240
Speaker 2: I definitely remember at least three other songs in One Direction,

1205
01:04:34,440 --> 01:04:38,680
Speaker 2: such as they want to Steal Maga remember that one

1206
01:04:39,000 --> 01:04:44,200
Speaker 2: and also even when the night changes.

1207
01:04:44,080 --> 01:04:46,439
Speaker 1: This is the story of my life, This is love,

1208
01:04:46,480 --> 01:04:48,760
Speaker 1: story of my Little Black Dress is great. That Little

1209
01:04:48,760 --> 01:04:51,479
Speaker 1: Black Dress is like a fucking third night blind song.

1210
01:04:51,840 --> 01:04:55,240
Speaker 1: You think this way the fuck just just did in

1211
01:04:55,400 --> 01:04:56,520
Speaker 1: the room? Did it?

1212
01:04:57,080 --> 01:04:57,800
Speaker 3: Did it? Oh?

1213
01:04:58,040 --> 01:04:59,800
Speaker 1: This is actually a great name. What's the what is

1214
01:04:59,840 --> 01:05:02,920
Speaker 1: the that's one direction, there's one that's some I like,

1215
01:05:04,960 --> 01:05:09,080
Speaker 1: what is that? You're gonna have to do better than that? Uh?

1216
01:05:11,640 --> 01:05:13,720
Speaker 2: You know you guys know listening in the car wherever

1217
01:05:13,800 --> 01:05:16,400
Speaker 2: you are, you know the one direction starts like this,

1218
01:05:16,720 --> 01:05:21,200
Speaker 2: brownounound bound bound pound girl.

1219
01:05:21,320 --> 01:05:27,960
Speaker 1: You can come on, he was a kid. No, don't

1220
01:05:28,000 --> 01:05:36,520
Speaker 1: throw me off, girl, I don't want to say yeah, yeah,

1221
01:05:36,800 --> 01:05:40,560
Speaker 1: hold on and let me kiss you. There it is,

1222
01:05:41,000 --> 01:05:43,640
Speaker 1: I got it you guys. I just threw myself across

1223
01:05:43,680 --> 01:05:45,280
Speaker 1: the room. No, but you were I think you were

1224
01:05:45,280 --> 01:05:47,720
Speaker 1: mixing two different songs up kiss you and like I

1225
01:05:47,840 --> 01:05:49,360
Speaker 1: never thought it's so bad.

1226
01:05:49,720 --> 01:05:56,240
Speaker 2: No, you literally gave me a hot at tag. I'm

1227
01:05:56,320 --> 01:06:00,640
Speaker 2: telling you no, Brown, let me here. I'm literally going

1228
01:06:00,720 --> 01:06:02,320
Speaker 2: to show you how right I am. And I think

1229
01:06:02,400 --> 01:06:03,200
Speaker 2: I'm even in key.

1230
01:06:03,400 --> 01:06:06,440
Speaker 1: Darcy Cardon is livid right now that we don't know this.

1231
01:06:06,800 --> 01:06:10,040
Speaker 1: Kiss you one direct? No, I know, kiss you Okay, ready,

1232
01:06:12,160 --> 01:06:17,800
Speaker 1: I'm sorry, but did I slay? I just want to wait,

1233
01:06:18,440 --> 01:06:21,640
Speaker 1: come on, this is great somewhere Katie Gavin Fermuna is

1234
01:06:21,720 --> 01:06:25,840
Speaker 1: like I think Matt has perfect pitch. You're going to

1235
01:06:25,880 --> 01:06:30,120
Speaker 1: die a compliment that I'll never like. Of course, that

1236
01:06:30,240 --> 01:06:33,040
Speaker 1: you will never let go. Okay. This is also the

1237
01:06:33,160 --> 01:06:37,240
Speaker 1: year of her Best Screenplay Adapted and Original that can't

1238
01:06:37,240 --> 01:06:41,320
Speaker 1: be right. Oh no, it was the Best Original Screenplay winner.

1239
01:06:41,480 --> 01:06:44,040
Speaker 1: Of course, I was like adapted, I loved her. I

1240
01:06:44,200 --> 01:06:46,720
Speaker 1: loved her. Of course, I'm the only faggot in America

1241
01:06:46,760 --> 01:06:48,840
Speaker 1: who thinks that. Excuse me, I just said, I know

1242
01:06:49,760 --> 01:06:54,760
Speaker 1: that's not an original thought. Best Original Song, Mandela Ordinary

1243
01:06:54,880 --> 01:06:57,160
Speaker 1: Love see like this is when?

1244
01:06:58,480 --> 01:06:58,720
Speaker 3: Oh no.

1245
01:06:58,760 --> 01:06:59,960
Speaker 1: At the Academy Awards.

1246
01:07:00,080 --> 01:07:02,000
Speaker 2: The Record of the Year was to Get Lucky by

1247
01:07:02,160 --> 01:07:05,080
Speaker 2: Daft Punk, which I don't necessarily get. And then the

1248
01:07:05,120 --> 01:07:07,160
Speaker 2: Album of the Year was Random Access Memories. Oh this

1249
01:07:07,360 --> 01:07:09,320
Speaker 2: was the year that Taylor's Red was beat.

1250
01:07:09,880 --> 01:07:11,760
Speaker 1: This was the year that Taylor's read because when they

1251
01:07:11,840 --> 01:07:14,400
Speaker 1: read and the grammy goes to like there was a

1252
01:07:14,480 --> 01:07:16,400
Speaker 1: split second re use. If you can see Taylor's face,

1253
01:07:16,400 --> 01:07:17,880
Speaker 1: She's like, she thinks she's gonna win.

1254
01:07:18,160 --> 01:07:22,320
Speaker 2: They heard the r Yeah, they sure did, crushing And

1255
01:07:22,360 --> 01:07:24,440
Speaker 2: then it was Random Access Memories, which kind of came

1256
01:07:24,480 --> 01:07:26,080
Speaker 2: out of nowhere. Also, the song of the Year was

1257
01:07:26,160 --> 01:07:31,040
Speaker 2: Royal by Lord, and let's just say I love melodrama,

1258
01:07:31,640 --> 01:07:35,640
Speaker 2: but for me, pure Heroin by Lord is an important oh,

1259
01:07:35,680 --> 01:07:36,240
Speaker 2: of course it is.

1260
01:07:36,320 --> 01:07:42,480
Speaker 3: That's Lore for me. That's that's Lord. It's Lord. It's

1261
01:07:42,560 --> 01:07:47,920
Speaker 3: Lord Lare, Lord Lor. Well, let's just say pure Heroin

1262
01:07:48,000 --> 01:07:52,160
Speaker 3: is that herold is Lord lor Pure Heroin is Lord Lare.

1263
01:07:52,600 --> 01:07:54,520
Speaker 1: And I just remember being in my last semester of

1264
01:07:54,600 --> 01:07:59,240
Speaker 1: college mm hmm high all the time when worlds came out. Yes,

1265
01:07:59,320 --> 01:08:01,440
Speaker 1: oh I remember, yes, I was right there with you

1266
01:08:01,560 --> 01:08:04,680
Speaker 1: girl and just stomping the streets. It was like the

1267
01:08:04,760 --> 01:08:06,760
Speaker 1: last semester of college and I was in the West

1268
01:08:06,840 --> 01:08:10,840
Speaker 1: Village just like walking around, like listening to like four

1269
01:08:10,960 --> 01:08:14,840
Speaker 1: hundred Lucks. Huh. I love pure Heroin, Pure Heroin in

1270
01:08:14,880 --> 01:08:19,200
Speaker 1: that first Charlie XCX album True Romance, those were like

1271
01:08:19,439 --> 01:08:22,720
Speaker 1: that was all I was listening to. I mean to say,

1272
01:08:22,840 --> 01:08:27,960
Speaker 1: nothing of art pop. We'll get so, we'll get to

1273
01:08:28,120 --> 01:08:30,479
Speaker 1: art pop. There was so I mean, this year, this

1274
01:08:30,840 --> 01:08:33,519
Speaker 1: is the babe, gave it okay, and then let's see

1275
01:08:33,560 --> 01:08:35,960
Speaker 1: what else. Best New Artist Malcolmore and Ryan Lewis. Other

1276
01:08:36,000 --> 01:08:40,679
Speaker 1: nominees included Casey Musgraves, Ed Sheeron, James Blake, and Kendrick Lamar.

1277
01:08:41,120 --> 01:08:42,800
Speaker 1: I don't think we got this one right. I don't know.

1278
01:08:44,120 --> 01:08:46,639
Speaker 1: We love Macklmore, though I don't know if.

1279
01:08:46,600 --> 01:08:50,519
Speaker 2: We love Macklamore enough to comfortably sit here and be like, yeah,

1280
01:08:50,560 --> 01:08:54,080
Speaker 2: it's fine that he beat Kendrick Lamar and Casey Musgraves

1281
01:08:55,200 --> 01:08:57,519
Speaker 2: and even ed sheeron to be honest, even James Blake,

1282
01:08:58,479 --> 01:09:01,280
Speaker 2: I mean definitely James Blake. You know, I was at

1283
01:09:01,360 --> 01:09:03,720
Speaker 2: the Do Lab last year at Coachella when James Blake

1284
01:09:03,760 --> 01:09:06,320
Speaker 2: did drop and said, the what lab. It's called the

1285
01:09:06,400 --> 01:09:09,120
Speaker 2: do Lab. It's where you go to see surprise drop ins.

1286
01:09:09,160 --> 01:09:09,879
Speaker 2: That's at Coachella.

1287
01:09:10,000 --> 01:09:14,640
Speaker 1: And I was there and in lab they should and

1288
01:09:14,880 --> 01:09:20,760
Speaker 1: you know, Jamila was there vibing how she dole. We

1289
01:09:20,880 --> 01:09:26,080
Speaker 1: love you girl. Let's talk about art pop. Where were you?

1290
01:09:26,720 --> 01:09:31,599
Speaker 1: I was in the airport in Beijing. You were, Yeah,

1291
01:09:31,640 --> 01:09:36,080
Speaker 1: that's very art populo. We were visiting China and on

1292
01:09:36,160 --> 01:09:41,400
Speaker 1: the way back in November, it had dropped. Our pop

1293
01:09:42,240 --> 01:09:46,080
Speaker 1: came into our lives and we're in time on another

1294
01:09:46,080 --> 01:09:49,960
Speaker 1: album later. But that was you know me, I was

1295
01:09:50,040 --> 01:09:53,519
Speaker 1: still caping for Gaga at her lowest moment, when everyone

1296
01:09:53,600 --> 01:09:54,639
Speaker 1: else had left her behind.

1297
01:09:54,960 --> 01:09:57,240
Speaker 2: Her lowest moment was when she could barely get the

1298
01:09:57,320 --> 01:10:01,320
Speaker 2: plane that she became off the ground. It was Lani

1299
01:10:01,439 --> 01:10:05,800
Speaker 2: technically Atlantis. Technically there was a higher moment than usual

1300
01:10:05,880 --> 01:10:08,000
Speaker 2: because she was inches off the ground, but it was

1301
01:10:08,080 --> 01:10:11,920
Speaker 2: a low point. She got into a full space suit,

1302
01:10:13,439 --> 01:10:16,120
Speaker 2: did a press conference in her spacesuit while her helmet

1303
01:10:16,240 --> 01:10:19,200
Speaker 2: was in one arm, saying I'm so excited to be

1304
01:10:19,280 --> 01:10:20,479
Speaker 2: the first flying woman.

1305
01:10:20,800 --> 01:10:23,439
Speaker 1: Yeah, she did not say that, but she said, I

1306
01:10:23,840 --> 01:10:26,320
Speaker 1: this is history. This is the first flying dress.

1307
01:10:26,439 --> 01:10:32,680
Speaker 2: Yes you missed that. Raw, Lady Goga rules. And I

1308
01:10:32,800 --> 01:10:34,800
Speaker 2: believe this is also the era where she got vomited on.

1309
01:10:35,080 --> 01:10:37,240
Speaker 1: Well, that was twenty fourteen at south By, so that

1310
01:10:37,360 --> 01:10:39,040
Speaker 1: was after the album came out, so that doesn't technically

1311
01:10:39,040 --> 01:10:41,439
Speaker 1: fall under this. See that was twenty fourteen at south By.

1312
01:10:41,760 --> 01:10:44,000
Speaker 1: I'm telling you I know this era like the back

1313
01:10:44,040 --> 01:10:44,519
Speaker 1: of my hand.

1314
01:10:44,720 --> 01:10:47,200
Speaker 2: This was a really I remember when everyone was like, oh,

1315
01:10:47,240 --> 01:10:49,439
Speaker 2: I don't know, Lady Goga lost it. I'm like, what

1316
01:10:49,520 --> 01:10:51,400
Speaker 2: are you talking about. I'm the rich bitch, I'm the

1317
01:10:51,479 --> 01:10:56,479
Speaker 2: upper class. Come on, give some respect, Like, don't react

1318
01:10:56,600 --> 01:10:58,280
Speaker 2: quickly to this shit. Let things marinate.

1319
01:10:58,400 --> 01:11:02,000
Speaker 1: This is what I'm saying, because in twelve years you're

1320
01:11:02,040 --> 01:11:05,479
Speaker 1: gonna be gagged by donal Tella. I think you know

1321
01:11:05,600 --> 01:11:10,360
Speaker 1: what's cool, Try and think about like, however, you can

1322
01:11:10,560 --> 01:11:14,000
Speaker 1: have metacognition, think about like the way you're thinking about

1323
01:11:14,040 --> 01:11:18,080
Speaker 1: things and be like, let me think ahead, girl, let

1324
01:11:18,120 --> 01:11:22,360
Speaker 1: me let me extrapolate a little bit. Strap ar pop.

1325
01:11:22,400 --> 01:11:24,160
Speaker 1: Where were you talk about your experience with her? I

1326
01:11:24,240 --> 01:11:27,280
Speaker 1: was on the subway. Okay, this was subway gig, like

1327
01:11:27,439 --> 01:11:30,360
Speaker 1: this was I remember you were subway gigging back then

1328
01:11:30,760 --> 01:11:31,479
Speaker 1: a lot, and I.

1329
01:11:31,479 --> 01:11:35,679
Speaker 2: Remember like this album took over. I think this actually

1330
01:11:35,800 --> 01:11:38,679
Speaker 2: was one of the first albums I had like fully

1331
01:11:38,800 --> 01:11:41,640
Speaker 2: downloaded on Spotify. I remember at this time, like I

1332
01:11:41,720 --> 01:11:44,960
Speaker 2: finally got Spotify and was like paying for like the

1333
01:11:45,120 --> 01:11:47,640
Speaker 2: version where you could like download songs and stuff, and

1334
01:11:47,680 --> 01:11:49,080
Speaker 2: I'm making my little play and I think it was

1335
01:11:49,120 --> 01:11:51,160
Speaker 2: one of the first albums I downloaded on Spotify.

1336
01:11:51,439 --> 01:11:58,759
Speaker 1: But g u I Sex Dreams, I'll sell it again, dope, dope,

1337
01:11:59,479 --> 01:12:10,759
Speaker 1: any more than our engineer freaking out having a heart attack,

1338
01:12:11,160 --> 01:12:15,519
Speaker 1: like truly panicked. Do what you want, now, what you want.

1339
01:12:15,680 --> 01:12:19,360
Speaker 1: It's so annoying the legacy of that song because it

1340
01:12:19,439 --> 01:12:24,120
Speaker 1: is such a hit. There is always the Christina version. Yeah,

1341
01:12:24,120 --> 01:12:27,519
Speaker 1: there is always that version. The version now, the version

1342
01:12:27,600 --> 01:12:30,639
Speaker 1: now I will stay at the as Gaga fucking tour

1343
01:12:31,400 --> 01:12:34,760
Speaker 1: and R Kelly was there as the President. It's a

1344
01:12:34,800 --> 01:12:41,400
Speaker 1: tough one. Gaga played President Kelly's secretary, President Kelly's secrecretary

1345
01:12:41,439 --> 01:12:46,880
Speaker 1: at the AMS where like she's at her desk President

1346
01:12:46,960 --> 01:12:50,640
Speaker 1: Kelly's office the White House. Yes, yes, I'll let him know.

1347
01:12:51,680 --> 01:12:55,760
Speaker 1: Then she gets a call hello, mister President, I want

1348
01:12:55,800 --> 01:12:58,920
Speaker 1: you and my desk in two minutes or whatever it was,

1349
01:13:01,280 --> 01:13:05,080
Speaker 1: and then she does this whole thing. I'm like, yes, sir,

1350
01:13:05,800 --> 01:13:07,640
Speaker 1: and then she starts to like primp and primp and

1351
01:13:07,680 --> 01:13:10,519
Speaker 1: prim and I remember this, and then she was black

1352
01:13:10,520 --> 01:13:12,519
Speaker 1: and white, right, No, she was in a gold dress,

1353
01:13:12,640 --> 01:13:14,920
Speaker 1: and then she goes into the Oval Office and does

1354
01:13:15,000 --> 01:13:18,479
Speaker 1: a whole dance and then the Oval office that melts

1355
01:13:18,479 --> 01:13:19,960
Speaker 1: away and she like goes and climbs the top a

1356
01:13:20,000 --> 01:13:24,640
Speaker 1: piano and starts screaming. And then it ended in a ballad, right,

1357
01:13:24,800 --> 01:13:27,120
Speaker 1: and then it was a ballad version of do what

1358
01:13:27,200 --> 01:13:29,919
Speaker 1: you Want. And then it was just news. It was headlines.

1359
01:13:29,960 --> 01:13:34,440
Speaker 1: It was very reputation, pre reputation. It was newspaper articles

1360
01:13:34,600 --> 01:13:40,080
Speaker 1: that said every headline was Lady Gaga is fast. Let

1361
01:13:40,200 --> 01:13:42,640
Speaker 1: these women be nuts. I'm telling you because then you

1362
01:13:42,720 --> 01:13:47,360
Speaker 1: get this, you love it, lady puts you will love it. No,

1363
01:13:47,439 --> 01:13:51,519
Speaker 1: I mean, lady guy. She was going through a very

1364
01:13:51,680 --> 01:13:55,080
Speaker 1: hard time. And I don't mean to laugh, but it

1365
01:13:55,400 --> 01:13:59,439
Speaker 1: is like it is that song is so unfortunate, like

1366
01:13:59,520 --> 01:14:01,800
Speaker 1: it is honist because of the r Kelly thing, Like

1367
01:14:02,160 --> 01:14:04,439
Speaker 1: the album is really tough for Gaga. I think she

1368
01:14:04,600 --> 01:14:06,840
Speaker 1: really doesn't remember it. I think we should believe her

1369
01:14:06,840 --> 01:14:08,479
Speaker 1: when she says she doesn't remember our pop. I don't

1370
01:14:08,520 --> 01:14:10,719
Speaker 1: remember our people. She will. I don't think she will perform.

1371
01:14:10,880 --> 01:14:13,120
Speaker 1: It will be decades before she performs a song from

1372
01:14:13,160 --> 01:14:16,519
Speaker 1: that album live. Did she not do applause? Do any art?

1373
01:14:16,520 --> 01:14:21,000
Speaker 1: Pop ecrematicaball? Wow? Yeah, I guess she didn't. She really

1374
01:14:21,200 --> 01:14:24,160
Speaker 1: doesn't like that time in her life. I don't think whoa,

1375
01:14:24,280 --> 01:14:26,000
Speaker 1: I don't. I don't mean to make light of that.

1376
01:14:26,080 --> 01:14:27,640
Speaker 1: I don't mean to laugh at that, but I mean

1377
01:14:27,920 --> 01:14:30,080
Speaker 1: for me, as a little monster, as a fan, I

1378
01:14:30,240 --> 01:14:33,120
Speaker 1: do go like I stuck with her in that time

1379
01:14:33,600 --> 01:14:36,479
Speaker 1: and I have not earned my stripes or anything, but

1380
01:14:36,600 --> 01:14:38,479
Speaker 1: like that just means to me, like I love this

1381
01:14:38,640 --> 01:14:41,360
Speaker 1: woman till the day I die. There's no question she

1382
01:14:41,520 --> 01:14:44,960
Speaker 1: is our favorite celebrity. Lady Gaga is fat like all

1383
01:14:45,080 --> 01:14:47,160
Speaker 1: across and like because I mean it was a crazy

1384
01:14:47,200 --> 01:14:48,560
Speaker 1: time and like she'd put on a little weight and

1385
01:14:48,600 --> 01:14:50,880
Speaker 1: everyone like melted down. That was still the end.

1386
01:14:51,240 --> 01:14:53,759
Speaker 2: I don't know, well, this tabloid ra is still ongoing.

1387
01:14:53,840 --> 01:14:56,920
Speaker 2: I mean blah blah blah. But like it was the

1388
01:14:57,040 --> 01:15:00,719
Speaker 2: last time that like people could really they get away

1389
01:15:00,800 --> 01:15:02,120
Speaker 2: with saying ship like that.

1390
01:15:03,320 --> 01:15:04,360
Speaker 1: Yeah, that was that was.

1391
01:15:04,439 --> 01:15:06,800
Speaker 2: That was like a moment where it was probably what

1392
01:15:06,960 --> 01:15:09,400
Speaker 2: was being said about her in papers more reputable than

1393
01:15:09,479 --> 01:15:10,080
Speaker 2: we remember.

1394
01:15:10,280 --> 01:15:14,840
Speaker 1: Yesh, it was like so killing crazy making your daily

1395
01:15:14,920 --> 01:15:17,280
Speaker 1: mails and should still say that kind of thing? Okay?

1396
01:15:17,439 --> 01:15:19,439
Speaker 2: And then Venus we have to just say, Venus, ve

1397
01:15:20,040 --> 01:15:33,519
Speaker 2: shout out. We all remember where we were, have respect.

1398
01:15:35,560 --> 01:15:40,559
Speaker 2: Venus know that we've performed that live many times.

1399
01:15:40,680 --> 01:15:44,519
Speaker 1: Yes, I think a companion piece to our pop is

1400
01:15:44,680 --> 01:15:45,679
Speaker 1: Prison by Katy Perry.

1401
01:15:46,760 --> 01:15:49,360
Speaker 2: I love Prison by Katy Perry. And anyone who thinks

1402
01:15:49,400 --> 01:15:51,559
Speaker 2: the second half of Prism doesn't go all the way

1403
01:15:51,640 --> 01:15:55,080
Speaker 2: off is not listening. Use your fucking ears and listen

1404
01:15:55,160 --> 01:15:59,439
Speaker 2: to the second half of Prism. Now, adult contemporary was

1405
01:15:59,600 --> 01:16:02,839
Speaker 2: heard on this album and the bops were bopping.

1406
01:16:03,040 --> 01:16:05,880
Speaker 1: Did you have a radio station in Long Island that

1407
01:16:05,960 --> 01:16:09,960
Speaker 1: whereas Yes, called cozy in Colorado was called cozy one

1408
01:16:10,000 --> 01:16:12,160
Speaker 1: on one. For us, it was called like Star, but

1409
01:16:12,240 --> 01:16:14,160
Speaker 1: it was like Star ninety nine point nine. It was

1410
01:16:14,200 --> 01:16:16,840
Speaker 1: like adult contemper Yes, and okay, so maybe you had

1411
01:16:16,880 --> 01:16:23,479
Speaker 1: this woman, iconic Delilah. Of course we had Delilah, Delilah, Delahilah.

1412
01:16:24,520 --> 01:16:26,880
Speaker 1: Wait a minute, I need to write this down. I

1413
01:16:26,960 --> 01:16:29,599
Speaker 1: need to go home, smoke a fat joint and listen

1414
01:16:29,640 --> 01:16:34,240
Speaker 1: to old Delilah clips. It's just her be It's literally like, Hi,

1415
01:16:34,640 --> 01:16:38,599
Speaker 1: how are you. I'm okay, Delilah. My husband has been

1416
01:16:38,680 --> 01:16:43,000
Speaker 1: at war for six years. That's so hard. It must

1417
01:16:43,080 --> 01:16:47,320
Speaker 1: be very lonely. It really is, Delilah, And I just

1418
01:16:47,439 --> 01:16:50,960
Speaker 1: want to know that things will get better. They will.

1419
01:16:51,160 --> 01:16:54,599
Speaker 1: I have a good song for you. It's like I'm

1420
01:16:54,680 --> 01:16:58,360
Speaker 1: a already there. Look around.

1421
01:16:59,680 --> 01:17:02,680
Speaker 2: It's like giving a loan, literally, like maybe this is

1422
01:17:02,760 --> 01:17:05,480
Speaker 2: like a show we should do, yes, just like comforting

1423
01:17:05,720 --> 01:17:07,840
Speaker 2: radio DJs who are.

1424
01:17:07,880 --> 01:17:12,240
Speaker 1: Fucked up and the post apocalypse, Like the world is done,

1425
01:17:12,439 --> 01:17:15,880
Speaker 1: and yet these two people are still like I'm so sorry.

1426
01:17:16,040 --> 01:17:20,800
Speaker 1: Delilah was a legend period. I hope she's well, I

1427
01:17:20,840 --> 01:17:25,519
Speaker 1: hope she what's going on tonight? Huh, she's on TikTok.

1428
01:17:26,439 --> 01:17:30,280
Speaker 1: Oh my god, what answered people's question. She's still on

1429
01:17:30,320 --> 01:17:35,920
Speaker 1: the radio. Hum Old already there today you can look around.

1430
01:17:37,000 --> 01:17:40,000
Speaker 1: I said, you better eat, talk more about prism.

1431
01:17:42,800 --> 01:17:45,679
Speaker 2: One of the greatest songs of all times. Birthday, Oh

1432
01:17:45,960 --> 01:17:51,479
Speaker 2: my god, yes, actual birthday.

1433
01:17:51,760 --> 01:17:59,439
Speaker 1: Yes this year. Yes, that's so good. You precious soul.

1434
01:17:59,600 --> 01:18:02,800
Speaker 1: You went you seasonalized? You really do. I mean your

1435
01:18:02,840 --> 01:18:06,120
Speaker 1: birthday should be a holiday, and like you should have

1436
01:18:06,240 --> 01:18:08,040
Speaker 1: a song at the reading, and there should be a

1437
01:18:08,040 --> 01:18:10,160
Speaker 1: playlist and Birthday by Katy Perry should be on it

1438
01:18:10,520 --> 01:18:12,640
Speaker 1: absolutely booming you with me.

1439
01:18:13,120 --> 01:18:14,840
Speaker 2: Wait, I now know I don't think so honey, up

1440
01:18:14,920 --> 01:18:17,920
Speaker 2: has to do with prism? Okay, oh give you Itay,

1441
01:18:18,280 --> 01:18:20,080
Speaker 2: I'm so happy. You know what that feeling when you

1442
01:18:20,080 --> 01:18:21,479
Speaker 2: find out you're I don't think so honey and you're

1443
01:18:21,520 --> 01:18:22,160
Speaker 2: like so happy.

1444
01:18:22,360 --> 01:18:25,160
Speaker 1: Make it like you bedday every day.

1445
01:18:26,040 --> 01:18:27,760
Speaker 2: Also, you know what time, I didn't like it first,

1446
01:18:27,800 --> 01:18:29,160
Speaker 2: but then I ended up being like, oh, I guess

1447
01:18:29,200 --> 01:18:30,519
Speaker 2: I do like it because I kind of have to

1448
01:18:30,720 --> 01:18:31,200
Speaker 2: dark Horse.

1449
01:18:32,479 --> 01:18:35,599
Speaker 1: I still am not so hot on dark dark Horse

1450
01:18:35,640 --> 01:18:37,960
Speaker 1: all these years later. What else was good? This is

1451
01:18:38,040 --> 01:18:42,639
Speaker 1: how we do. Yeah, this is hell we do. Never forget.

1452
01:18:43,120 --> 01:18:48,560
Speaker 1: I don't it's a weird album, so cuckoo, it's a

1453
01:18:48,640 --> 01:18:52,800
Speaker 1: cuckoo album and the tough live performances of that. But

1454
01:18:52,960 --> 01:18:57,400
Speaker 1: I do love unconditionally. I have a lot and this

1455
01:18:57,640 --> 01:19:00,360
Speaker 1: has to do with don't get to a from there

1456
01:19:00,439 --> 01:19:02,240
Speaker 1: because I have a lot to say about it. And

1457
01:19:02,479 --> 01:19:07,200
Speaker 1: then the big one Beyonce by Beyonce started it all,

1458
01:19:07,320 --> 01:19:13,920
Speaker 1: started it all. I actually don't think I have no

1459
01:19:14,080 --> 01:19:16,920
Speaker 1: this is this is not true, but like it's up

1460
01:19:17,040 --> 01:19:19,920
Speaker 1: there for me with albums of Laura in my life

1461
01:19:19,960 --> 01:19:24,160
Speaker 1: where I'm like that change shit like that was a

1462
01:19:24,760 --> 01:19:28,519
Speaker 1: like a marked change in like the way I felt

1463
01:19:28,720 --> 01:19:31,760
Speaker 1: number one her music, like everything. I was just like

1464
01:19:32,280 --> 01:19:34,479
Speaker 1: so blown away by what the fucks she did?

1465
01:19:35,760 --> 01:19:40,360
Speaker 2: Every song I fucking love, like I guess for me,

1466
01:19:40,520 --> 01:19:43,320
Speaker 2: if I had to say a standout, it's still Jealous, Jealous.

1467
01:19:44,200 --> 01:19:49,800
Speaker 1: I listened to Jealous every day all day, like it

1468
01:19:49,960 --> 01:19:56,280
Speaker 1: was really I'm sorry. I hear my sister say I

1469
01:19:56,360 --> 01:19:58,200
Speaker 1: listened to Jealous every day all day.

1470
01:19:58,360 --> 01:20:03,200
Speaker 2: I go, I don't if that's true. It's not true,

1471
01:20:05,280 --> 01:20:07,040
Speaker 2: but at the time I listened to it a lot.

1472
01:20:07,200 --> 01:20:09,479
Speaker 2: I see I see remember iTunes for you have like

1473
01:20:09,520 --> 01:20:10,799
Speaker 2: your top twenty five play.

1474
01:20:10,720 --> 01:20:13,040
Speaker 1: Song and you'd see the count. Ooh, that's tough.

1475
01:20:13,240 --> 01:20:13,280
Speaker 3: No.

1476
01:20:13,720 --> 01:20:17,120
Speaker 2: The thousands of times I listened to Jealous, it was

1477
01:20:17,240 --> 01:20:20,080
Speaker 2: like far and away my number one an album I

1478
01:20:20,160 --> 01:20:22,439
Speaker 2: listened to constantly, Like but that one song, I don't

1479
01:20:22,439 --> 01:20:23,720
Speaker 2: think I ever just got through it once.

1480
01:20:23,720 --> 01:20:25,519
Speaker 1: I would always have to replay it. What is it

1481
01:20:25,600 --> 01:20:29,360
Speaker 1: about that song? I think that's the kind of music

1482
01:20:29,720 --> 01:20:32,360
Speaker 1: I hope to make. Want is like I think you

1483
01:20:32,479 --> 01:20:37,439
Speaker 1: have made bite full like emotional pop. The production on

1484
01:20:37,520 --> 01:20:40,800
Speaker 1: that is so good, just like that's every Christmas Eve.

1485
01:20:40,880 --> 01:20:45,760
Speaker 1: Coded Oh my god, that's so kind of you, it's

1486
01:20:45,800 --> 01:20:49,479
Speaker 1: every Christmas Eve. I feel as though you're not wrong. No,

1487
01:20:49,680 --> 01:20:51,200
Speaker 1: I'm not. I know I'm not. I wouldn't say it.

1488
01:20:51,240 --> 01:20:53,799
Speaker 2: I would also say, just like Beyonce, occupying that lyrical

1489
01:20:53,880 --> 01:20:55,680
Speaker 2: space of like, how fucking dare you?

1490
01:20:56,439 --> 01:20:59,160
Speaker 1: Like? How much I like cook this for naked, this

1491
01:20:59,240 --> 01:21:02,840
Speaker 1: meal for you, naked? Where the hell you at? Uh huh?

1492
01:21:03,280 --> 01:21:05,720
Speaker 1: I wish that you were me so you could feel

1493
01:21:05,800 --> 01:21:09,479
Speaker 1: this feeling. I never broke one promise, and I know

1494
01:21:09,600 --> 01:21:13,800
Speaker 1: when you're not honest. Now you got me yelling that's

1495
01:21:13,840 --> 01:21:14,719
Speaker 1: because I'm jealous.

1496
01:21:15,600 --> 01:21:17,960
Speaker 2: When she said I'm coming for you, but also I'm

1497
01:21:18,000 --> 01:21:20,800
Speaker 2: backing off like that is tough to pull off on

1498
01:21:20,880 --> 01:21:22,960
Speaker 2: a song, just like, yeah, you think it's gonna be

1499
01:21:23,040 --> 01:21:25,120
Speaker 2: one thing, because it is one thing, and then the

1500
01:21:25,240 --> 01:21:28,200
Speaker 2: reveal of the underlying emotion you.

1501
01:21:28,240 --> 01:21:31,720
Speaker 1: Know what song also does this? What be careful Cardi B.

1502
01:21:32,720 --> 01:21:36,120
Speaker 1: It's like, don't do this because why I do this

1503
01:21:36,360 --> 01:21:41,240
Speaker 1: is vulnerable. Don't do this vulnerable. I'm getting a shirt

1504
01:21:41,320 --> 01:21:44,280
Speaker 1: we're making merch that says, don't do this. I'm vulnerable

1505
01:21:46,560 --> 01:21:49,600
Speaker 1: this album. I remember exactly where I was. Obviously, there

1506
01:21:49,640 --> 01:21:53,080
Speaker 1: was a midnight drop. You and I were on Facebook Messenger.

1507
01:21:53,280 --> 01:21:55,920
Speaker 2: I literally remember for some reason going the iTunes being

1508
01:21:55,960 --> 01:21:57,720
Speaker 2: like I wonder and seeing the word beyond saying I

1509
01:21:57,800 --> 01:21:59,320
Speaker 2: was like huh. And I texted you and I said,

1510
01:21:59,479 --> 01:22:02,240
Speaker 2: You're not gonna believe this. I remember the message you said.

1511
01:22:02,760 --> 01:22:04,479
Speaker 2: I was like, oh my god, I can't fucking believe this.

1512
01:22:04,600 --> 01:22:07,560
Speaker 2: And then you said the words no, I feel sick.

1513
01:22:07,560 --> 01:22:10,679
Speaker 1: I feel sick. I was sick.

1514
01:22:11,160 --> 01:22:14,320
Speaker 2: Yeah, I was unwell, and I remember I didn't sleep

1515
01:22:14,400 --> 01:22:15,880
Speaker 2: that night. I had to go into work the next

1516
01:22:15,960 --> 01:22:18,400
Speaker 2: day and none of the other waitresses had slept either.

1517
01:22:18,760 --> 01:22:22,720
Speaker 1: It was like, what is going on? That was a

1518
01:22:22,840 --> 01:22:28,439
Speaker 1: musical monoculture moment. I mean, I just remember watching the

1519
01:22:28,600 --> 01:22:31,519
Speaker 1: video for Yance, the video for Partition, the video for

1520
01:22:31,720 --> 01:22:35,960
Speaker 1: Blow for Rocket, for all of the I was just

1521
01:22:36,120 --> 01:22:39,599
Speaker 1: like everyone. I was just like I am a new being,

1522
01:22:39,840 --> 01:22:43,920
Speaker 1: Like I am immediately re arranged because of this album,

1523
01:22:44,120 --> 01:22:51,120
Speaker 1: Like I know what to aspire to now, like sexually,

1524
01:22:51,960 --> 01:22:55,240
Speaker 1: I know what to aspire to now, like confidence way,

1525
01:22:55,479 --> 01:23:00,240
Speaker 1: like yeah, that is like role model aspirational down flow us.

1526
01:23:01,160 --> 01:23:02,680
Speaker 1: Oh my god, forget it, like never.

1527
01:23:03,000 --> 01:23:05,320
Speaker 2: By the way, this was also the year of the

1528
01:23:06,280 --> 01:23:12,960
Speaker 2: red flannel tucked into jean's shorts. And if you weren't

1529
01:23:13,040 --> 01:23:16,639
Speaker 2: doing it button to the top tucked into gene shorts,

1530
01:23:16,920 --> 01:23:18,920
Speaker 2: you weren't a pop girlly of the time or a

1531
01:23:19,000 --> 01:23:20,920
Speaker 2: gay guy trying to give that.

1532
01:23:21,240 --> 01:23:24,000
Speaker 1: But it's okay because we teach girls to shrink themselves,

1533
01:23:24,560 --> 01:23:30,600
Speaker 1: to make themselves smaller. Period. There's more, but ask Chimamanda

1534
01:23:30,640 --> 01:23:34,040
Speaker 1: about that now. The following songs were number one hits

1535
01:23:34,040 --> 01:23:36,040
Speaker 1: on the Billboard. Howe anything else to say about Beyonce.

1536
01:23:36,000 --> 01:23:38,080
Speaker 2: I mean, so much more to say, but like it

1537
01:23:38,200 --> 01:23:40,240
Speaker 2: is what it is. I mean, like it's the defining album.

1538
01:23:40,320 --> 01:23:41,920
Speaker 2: The fact that that's an album of the year, loss

1539
01:23:42,040 --> 01:23:47,280
Speaker 2: is comical. It's ridiculous. It should have been her first album,

1540
01:23:47,360 --> 01:23:48,439
Speaker 2: win Album of the Year Win.

1541
01:23:49,040 --> 01:23:53,479
Speaker 1: Blurred Lines was twelve weeks at number one Royals nine weeks,

1542
01:23:53,800 --> 01:23:55,640
Speaker 1: very impressive, and I did not put the rest of

1543
01:23:55,680 --> 01:24:00,439
Speaker 1: the weeks. I think that's truly okay out of heaven Up.

1544
01:24:02,640 --> 01:24:06,560
Speaker 1: We didn't talk about untorthodox cheekbox Sobers on tour for

1545
01:24:06,680 --> 01:24:10,759
Speaker 1: that album. He was phenomenal. Yeah, thrift Shop, Harlem Shake,

1546
01:24:11,360 --> 01:24:15,240
Speaker 1: just give me a reason. Pink representation very much so

1547
01:24:15,439 --> 01:24:21,320
Speaker 1: can't hold us more? Malcolmore roar, bless you, bless you,

1548
01:24:22,280 --> 01:24:26,920
Speaker 1: bless you, bless you. Leave that in. I want them

1549
01:24:26,960 --> 01:24:29,640
Speaker 1: to know how much I sneeze. I want them to

1550
01:24:29,760 --> 01:24:32,600
Speaker 1: know what I go through. I'm crying. Leave that in.

1551
01:24:32,960 --> 01:24:34,960
Speaker 1: Do not take it out. No one's pushing back. I

1552
01:24:35,080 --> 01:24:38,439
Speaker 1: know the truth. Uh. And Wrecking Ball, Wrecking Ball, fucking

1553
01:24:38,560 --> 01:24:39,679
Speaker 1: Rocks TV.

1554
01:24:39,800 --> 01:24:41,320
Speaker 2: I think at this time I'm just gonna say was

1555
01:24:41,360 --> 01:24:44,320
Speaker 2: boring because the same ship was still dominating. So blah

1556
01:24:44,320 --> 01:24:49,439
Speaker 2: blah blah, Breaking Bad, Modern Family. These were all incredible shows,

1557
01:24:49,439 --> 01:24:51,320
Speaker 2: but we've just talked about them in other episodes.

1558
01:24:53,040 --> 01:24:57,880
Speaker 1: Notable deaths, Oh God, Paul Walker, there's that lou Reed,

1559
01:24:59,200 --> 01:25:02,799
Speaker 1: Roger Ebert. That was that was tough too. No, Nelson, Mandela,

1560
01:25:04,360 --> 01:25:12,640
Speaker 1: James Gndel Feeni, Oh God, we miss you, we miss you,

1561
01:25:12,760 --> 01:25:17,320
Speaker 1: We kiss you. Politically, here's what happened. But Rock Obama

1562
01:25:18,080 --> 01:25:22,040
Speaker 1: sworn in for his second term. They say that art

1563
01:25:22,120 --> 01:25:26,920
Speaker 1: pop was an Obama era creation. Do you agree?

1564
01:25:27,280 --> 01:25:33,679
Speaker 2: Yes, I think that artists felt the most free Obama God,

1565
01:25:33,800 --> 01:25:35,320
Speaker 2: the Tea Party shut down the government.

1566
01:25:35,439 --> 01:25:41,000
Speaker 1: Huh yeah, they really did that. Obamacare flopped. Snowden's NSA

1567
01:25:41,160 --> 01:25:45,879
Speaker 1: leaks not great, huh No. Sort of living in a time.

1568
01:25:47,080 --> 01:25:51,320
Speaker 4: That was where you know that it's started to unravel,

1569
01:25:55,080 --> 01:25:57,799
Speaker 4: you know, yeah, that's unravel.

1570
01:25:58,439 --> 01:26:01,320
Speaker 2: The last and most important thing that happened in the

1571
01:26:01,400 --> 01:26:04,680
Speaker 2: year twenty thirteen was Bowen and I sat down at

1572
01:26:04,720 --> 01:26:09,040
Speaker 2: Wapiano and I had Bowen joining our sketch group Poproulette,

1573
01:26:09,520 --> 01:26:11,320
Speaker 2: thus changing the course of history.

1574
01:26:12,400 --> 01:26:14,160
Speaker 1: Really because you were going to move back today. I

1575
01:26:14,200 --> 01:26:15,799
Speaker 1: was going to move back to dinner with my parents.

1576
01:26:16,280 --> 01:26:22,840
Speaker 1: I Oh, my sister period saved me. And this is

1577
01:26:22,960 --> 01:26:25,040
Speaker 1: I said, come to Vapiano, we have to have a conversation.

1578
01:26:25,320 --> 01:26:28,320
Speaker 1: And we hadn't really like hung out in a while. No,

1579
01:26:28,600 --> 01:26:31,240
Speaker 1: this was pre Best era, pre bestI era. It was

1580
01:26:31,280 --> 01:26:34,400
Speaker 1: still like, oh Matt. Yeah, it was just like good friend,

1581
01:26:34,880 --> 01:26:35,840
Speaker 1: Oh Matt, I would love to.

1582
01:26:35,880 --> 01:26:38,080
Speaker 2: I hope I see Matt soon. Yeah, And I was like, girl,

1583
01:26:38,120 --> 01:26:40,479
Speaker 2: it's time to get lunch. And then we sat down

1584
01:26:40,560 --> 01:26:41,200
Speaker 2: and got lunch and.

1585
01:26:41,240 --> 01:26:44,720
Speaker 1: Little did you know that there was a destiny was

1586
01:26:44,800 --> 01:26:47,240
Speaker 1: there was a poprolette proposal. I said, the group has

1587
01:26:47,439 --> 01:26:50,160
Speaker 1: talked and they've decided they want you a girl. They

1588
01:26:50,240 --> 01:26:51,400
Speaker 1: want you to be a part of the group. And

1589
01:26:51,439 --> 01:26:53,280
Speaker 1: do you know why we asked Food to be a

1590
01:26:53,320 --> 01:26:56,720
Speaker 1: part of the group because I left reality show or something. No,

1591
01:26:56,960 --> 01:26:59,400
Speaker 1: this was why do you remember when you got on

1592
01:26:59,479 --> 01:27:04,040
Speaker 1: that music app and sang set fire to your manner

1593
01:27:04,520 --> 01:27:09,479
Speaker 1: to the to the tune of does that still exist?

1594
01:27:10,200 --> 01:27:14,960
Speaker 1: Explain what that was? This was an app that pre

1595
01:27:15,600 --> 01:27:19,800
Speaker 1: TikTok like TikTok was a merger between two apps, right,

1596
01:27:19,960 --> 01:27:21,479
Speaker 1: both were like Chinese apps, or one of them was

1597
01:27:21,560 --> 01:27:23,800
Speaker 1: Chinese and like but the other one this is not

1598
01:27:24,040 --> 01:27:26,680
Speaker 1: that app, but it was. There was like a a

1599
01:27:26,880 --> 01:27:29,560
Speaker 1: genre of app where you could sing karaoke songs and

1600
01:27:29,680 --> 01:27:33,160
Speaker 1: record yourself singing. Huh. It was not musically but it

1601
01:27:33,240 --> 01:27:34,960
Speaker 1: was like whatever it was, it was called something else

1602
01:27:35,000 --> 01:27:40,680
Speaker 1: before musically I think it wasn't that. It wasn't it's

1603
01:27:40,720 --> 01:27:41,599
Speaker 1: it's the right thread.

1604
01:27:42,200 --> 01:27:45,960
Speaker 2: You're spiritually right, No, no, no, but spiritual like the

1605
01:27:46,040 --> 01:27:47,400
Speaker 2: Katie Perry Prism song.

1606
01:27:47,600 --> 01:27:50,400
Speaker 1: Okay, well musically was what TikTok was? Right? Yeah, But

1607
01:27:50,479 --> 01:27:52,839
Speaker 1: you could like film yourself, like you could record yourself

1608
01:27:52,920 --> 01:27:56,240
Speaker 1: and film yourself singing karaoke songs. And I did a

1609
01:27:56,360 --> 01:27:59,080
Speaker 1: series where I would pitch up my voice and I

1610
01:27:59,160 --> 01:28:01,519
Speaker 1: played this character or as myself. I was like hey,

1611
01:28:01,600 --> 01:28:04,880
Speaker 1: I was like, hey, it's Boen and like I'm here

1612
01:28:04,920 --> 01:28:07,840
Speaker 1: to sing my cover of like of this is this,

1613
01:28:08,080 --> 01:28:11,960
Speaker 1: and like sometimes I would for some reason set fire

1614
01:28:12,000 --> 01:28:16,120
Speaker 1: to your manner was me being like so stupid A

1615
01:28:16,240 --> 01:28:18,640
Speaker 1: rich guy broke up with me, and I went to

1616
01:28:18,760 --> 01:28:21,080
Speaker 1: go burn his house down. But it was a whole manner.

1617
01:28:21,240 --> 01:28:23,840
Speaker 1: It was a manner. Where did I get manner from?

1618
01:28:23,920 --> 01:28:26,480
Speaker 1: Oh no, it's because you're very creative.

1619
01:28:27,200 --> 01:28:31,920
Speaker 2: And it was that creativity and performance capability that earned

1620
01:28:32,040 --> 01:28:34,800
Speaker 2: the yas of pop Roulette. And I said, let me

1621
01:28:34,840 --> 01:28:36,280
Speaker 2: sit down with him because I know him the best,

1622
01:28:36,280 --> 01:28:37,800
Speaker 2: and we'll get him to join the sketch group. Because

1623
01:28:37,800 --> 01:28:40,240
Speaker 2: I heard this nasty rumor that you were going to

1624
01:28:40,320 --> 01:28:44,040
Speaker 2: leave town. And flee and go back to something like Denver, Colorado,

1625
01:28:44,120 --> 01:28:45,360
Speaker 2: like you were Renee Rap or.

1626
01:28:45,400 --> 01:28:48,439
Speaker 1: Something like it was Renee Rap. She has this a

1627
01:28:48,479 --> 01:28:59,759
Speaker 1: whole song about it. How was your twenty thirteen? Personally?

1628
01:29:00,760 --> 01:29:01,160
Speaker 1: My god?

1629
01:29:01,320 --> 01:29:06,080
Speaker 2: Like so working in a restaurant pilled like I would work.

1630
01:29:06,160 --> 01:29:10,320
Speaker 2: I was working at Ulysses in the financial district, just

1631
01:29:10,439 --> 01:29:13,200
Speaker 2: like waiting on everyone who ran our banks and was

1632
01:29:13,280 --> 01:29:15,040
Speaker 2: so drunk during the day. Like they would come and

1633
01:29:15,080 --> 01:29:17,160
Speaker 2: they would get wasted, and then they would return to

1634
01:29:17,280 --> 01:29:21,120
Speaker 2: running our banks. I will never forget how I saw

1635
01:29:21,280 --> 01:29:23,400
Speaker 2: some of those men speak to the girls that I

1636
01:29:23,479 --> 01:29:27,160
Speaker 2: worked with. I made fine money there, I mean like

1637
01:29:27,320 --> 01:29:29,360
Speaker 2: it was. I remember thinking at the time, like I

1638
01:29:29,479 --> 01:29:31,639
Speaker 2: have to keep this job because I won't make money elsewhere.

1639
01:29:32,200 --> 01:29:35,720
Speaker 2: Like can I say to all servers out there, if

1640
01:29:35,800 --> 01:29:38,439
Speaker 2: you are at a restaurant that you don't like working at,

1641
01:29:39,000 --> 01:29:40,280
Speaker 2: there's a million other ones.

1642
01:29:40,640 --> 01:29:43,240
Speaker 1: I don't do. Not live day to day in a situation.

1643
01:29:45,040 --> 01:29:48,519
Speaker 2: You shouldn't be in a situation for even ten minutes

1644
01:29:49,320 --> 01:29:51,600
Speaker 2: where you're not happy. The word, in the words of

1645
01:29:51,760 --> 01:29:52,720
Speaker 2: Kim katral I was.

1646
01:29:52,720 --> 01:29:54,320
Speaker 1: Making a bit. I don't know about there being a

1647
01:29:54,360 --> 01:29:55,719
Speaker 1: million restaurants. There are a million.

1648
01:29:55,840 --> 01:29:58,519
Speaker 2: I just I remember I stayed like it's a nice

1649
01:29:58,600 --> 01:30:01,719
Speaker 2: place like whatever, but like I remember management change. Again,

1650
01:30:01,760 --> 01:30:03,920
Speaker 2: this was like over ten years ago now, so like

1651
01:30:04,000 --> 01:30:06,840
Speaker 2: it's like everyone's different, but like that thing happened where

1652
01:30:06,880 --> 01:30:08,479
Speaker 2: I was like, you had like a good fun job

1653
01:30:08,560 --> 01:30:11,400
Speaker 2: and then management change and like things changed, and you know,

1654
01:30:11,479 --> 01:30:14,560
Speaker 2: we started like to do other things. And I was

1655
01:30:14,680 --> 01:30:17,600
Speaker 2: just like it was really wearing on me how disgusting

1656
01:30:17,960 --> 01:30:19,240
Speaker 2: the guys were that would come in.

1657
01:30:19,720 --> 01:30:24,600
Speaker 1: Yeah, and of course I left because it was just

1658
01:30:24,720 --> 01:30:28,840
Speaker 1: getting so like corporatety all around me, and I was

1659
01:30:28,920 --> 01:30:31,320
Speaker 1: just like this is gross and I wasn't making good

1660
01:30:31,400 --> 01:30:33,640
Speaker 1: enough money and just like the financial district is not

1661
01:30:33,720 --> 01:30:37,040
Speaker 1: where the cream of the crop is. Well, fight I return,

1662
01:30:37,160 --> 01:30:41,280
Speaker 1: you think fight, I I don't just like fight, you

1663
01:30:41,320 --> 01:30:41,720
Speaker 1: know what I mean.

1664
01:30:41,760 --> 01:30:43,560
Speaker 2: Like I used to go there and I liked it,

1665
01:30:43,680 --> 01:30:46,720
Speaker 2: Like I loved, you know, the cobblestone streets, and I

1666
01:30:46,960 --> 01:30:48,920
Speaker 2: liked a lot of the restaurants down there, Like by

1667
01:30:48,960 --> 01:30:50,519
Speaker 2: the way, there's I don't know if it's still there,

1668
01:30:50,560 --> 01:30:52,519
Speaker 2: but there was a pizza place called Adrian's next door

1669
01:30:52,600 --> 01:30:55,280
Speaker 2: that was like so slay, and like I did have

1670
01:30:55,320 --> 01:30:56,880
Speaker 2: a lot of good memories working now, like you would

1671
01:30:56,880 --> 01:30:57,400
Speaker 2: come visit me.

1672
01:30:57,479 --> 01:30:59,280
Speaker 1: I worked with a lot of really cool girls there.

1673
01:31:00,040 --> 01:31:02,800
Speaker 2: I recently went back and some people were still working there,

1674
01:31:02,880 --> 01:31:06,080
Speaker 2: which was like so great to see them. And you know,

1675
01:31:06,200 --> 01:31:09,639
Speaker 2: but I remember I would work Monday nights from seven

1676
01:31:09,720 --> 01:31:14,720
Speaker 2: pm to four am. Oh yes, and there would be

1677
01:31:15,680 --> 01:31:18,760
Speaker 2: no one there, but we pulled the tips, so I'd

1678
01:31:18,840 --> 01:31:21,880
Speaker 2: make all this like hourly money from working from seven

1679
01:31:21,920 --> 01:31:22,920
Speaker 2: to four am on.

1680
01:31:23,000 --> 01:31:28,400
Speaker 1: A Monday night. Yeah, yeah, till literally four I can't believe. Yeah,

1681
01:31:28,760 --> 01:31:31,040
Speaker 1: there were Oh but this was Brooklyn Crab days. Never mind,

1682
01:31:31,040 --> 01:31:33,200
Speaker 1: I'm getting it. I'm getting ahead of myself. The Brooklyn

1683
01:31:33,240 --> 01:31:35,639
Speaker 1: Crab days comes soon after. But the Brooklyn Crab days,

1684
01:31:35,640 --> 01:31:37,559
Speaker 1: and we've talked about on this pod before, but there

1685
01:31:37,600 --> 01:31:39,400
Speaker 1: were a couple of nights where you would be over

1686
01:31:39,479 --> 01:31:41,479
Speaker 1: served at Brooklyn Crab at your job because you'd stick

1687
01:31:41,479 --> 01:31:43,479
Speaker 1: around after work and you would call me drunk and

1688
01:31:43,600 --> 01:31:46,200
Speaker 1: be like, boh and get me an uber now because

1689
01:31:46,200 --> 01:31:48,320
Speaker 1: I didn't have uber uber on my phone. I don't

1690
01:31:48,360 --> 01:31:50,360
Speaker 1: know why. I think it was just I don't know,

1691
01:31:50,840 --> 01:31:53,200
Speaker 1: And I would do it for you, and that's how

1692
01:31:53,280 --> 01:31:54,920
Speaker 1: much I love you. That was back in the day.

1693
01:31:54,960 --> 01:31:57,559
Speaker 2: Would go on, well, you wouldn't, but Sudi would make

1694
01:31:57,600 --> 01:32:02,439
Speaker 2: my PDFs, and you would call my ubers study would

1695
01:32:02,439 --> 01:32:04,639
Speaker 2: make your PDFs because you were convinced that you cannot

1696
01:32:04,640 --> 01:32:07,200
Speaker 2: make them on your computer, on your Mac computer because

1697
01:32:07,280 --> 01:32:08,280
Speaker 2: there was a virus.

1698
01:32:09,600 --> 01:32:12,519
Speaker 1: Because there was a virus. I was convinced. I was

1699
01:32:12,640 --> 01:32:15,080
Speaker 1: convinced that. I don't know. I still think this day,

1700
01:32:15,080 --> 01:32:18,320
Speaker 1: I think something was going on there. I just mean,

1701
01:32:18,640 --> 01:32:20,280
Speaker 1: I hope one day that we all go to Fight

1702
01:32:20,320 --> 01:32:22,800
Speaker 1: I again for a fun party like China Chalet was

1703
01:32:22,880 --> 01:32:26,160
Speaker 1: kind of a nice moment, did you No, I don't

1704
01:32:26,200 --> 01:32:26,679
Speaker 1: think I ever.

1705
01:32:26,600 --> 01:32:28,439
Speaker 2: Want we could go down to Fight Eye and have

1706
01:32:28,520 --> 01:32:31,320
Speaker 2: a party whenever we want. It's just like the type

1707
01:32:31,360 --> 01:32:34,160
Speaker 2: of character you might run into down there is like

1708
01:32:34,640 --> 01:32:38,320
Speaker 2: it's always usually tough. I'm gonna call it very mask

1709
01:32:38,520 --> 01:32:41,720
Speaker 2: Bridge and Tunnel, I'm telling you. Like these guys from

1710
01:32:41,800 --> 01:32:43,799
Speaker 2: like the banks would come in when they're like khaki

1711
01:32:43,920 --> 01:32:46,680
Speaker 2: pants with their big old butts, and they would like

1712
01:32:47,280 --> 01:32:49,120
Speaker 2: be so nasty.

1713
01:32:48,800 --> 01:32:51,479
Speaker 1: And just like talk. I just I saw so many

1714
01:32:51,600 --> 01:32:55,200
Speaker 1: of my colleagues be called like the C word. Oh God,

1715
01:32:55,520 --> 01:32:58,519
Speaker 1: like our friend I won't say who who I got

1716
01:32:58,560 --> 01:33:02,599
Speaker 1: a job there had this horrible experience where she told

1717
01:33:02,640 --> 01:33:05,559
Speaker 1: the customer that we didn't sell cigarettes because he was wasted.

1718
01:33:05,720 --> 01:33:07,800
Speaker 1: Came up, like you always sell cigarettes, and she's like,

1719
01:33:07,840 --> 01:33:09,839
Speaker 1: we don't have cigarettes. They have it at the gazebo

1720
01:33:09,920 --> 01:33:13,240
Speaker 1: around the corner, and he called her the sea word

1721
01:33:13,320 --> 01:33:16,720
Speaker 1: in such a vicious, violent way that I was just like.

1722
01:33:17,240 --> 01:33:19,320
Speaker 1: It wasn't long after that that I left. I was like,

1723
01:33:19,400 --> 01:33:21,800
Speaker 1: I don't even want to be fucking around this. Yeah,

1724
01:33:21,960 --> 01:33:23,599
Speaker 1: I like it's so gross.

1725
01:33:23,880 --> 01:33:27,479
Speaker 2: And those guys feel so entitled because they make the

1726
01:33:27,600 --> 01:33:30,320
Speaker 2: money that they make, and like, you know, like it's

1727
01:33:30,479 --> 01:33:32,600
Speaker 2: just I don't know. I hate these guys living in

1728
01:33:32,640 --> 01:33:35,080
Speaker 2: the fucking high life down there and treating people like that.

1729
01:33:36,240 --> 01:33:42,519
Speaker 1: I help all of them suffer. Suffer well. Time froun't

1730
01:33:42,520 --> 01:33:45,439
Speaker 1: think so honey, time think so honey. This is I

1731
01:33:45,479 --> 01:33:47,040
Speaker 1: don't think, sony. This is where we take one minute

1732
01:33:47,080 --> 01:33:51,800
Speaker 1: to go off on something in culture. Let's see, Oh

1733
01:33:51,880 --> 01:33:54,560
Speaker 1: I do have something. I have something, and let's go

1734
01:33:54,680 --> 01:33:56,439
Speaker 1: with you, all right, let's go with me. And we

1735
01:33:56,840 --> 01:33:59,000
Speaker 1: both previewed her. I don't think so Honey's yeah, this

1736
01:33:59,080 --> 01:34:01,200
Speaker 1: is Matt Rogers. I don't think so many time starts now, I.

1737
01:34:01,200 --> 01:34:03,560
Speaker 2: Don't think so honey. Anyone taking an issue with the

1738
01:34:03,600 --> 01:34:07,040
Speaker 2: pronunciation in the song Unconditionally by Katie Perry to stop

1739
01:34:07,080 --> 01:34:10,080
Speaker 2: with your unconditionally. First of all, it is a gorgeous song.

1740
01:34:10,400 --> 01:34:14,040
Speaker 2: It is a gorgeous ballad for me, and I feel

1741
01:34:14,200 --> 01:34:16,640
Speaker 2: like a lot of people can't get over the pronunciation.

1742
01:34:17,040 --> 01:34:17,680
Speaker 1: Get over it.

1743
01:34:17,960 --> 01:34:19,599
Speaker 2: She had to say it like that so it would

1744
01:34:19,680 --> 01:34:23,479
Speaker 2: work in meter. Okay, what would you rather not have

1745
01:34:23,680 --> 01:34:25,200
Speaker 2: the song? It's one of the greatest songs in the

1746
01:34:25,240 --> 01:34:28,720
Speaker 2: twenty first century. No, no, who could forget her? Performances

1747
01:34:28,760 --> 01:34:33,599
Speaker 2: of the song live all problematic, all problematic in nature.

1748
01:34:34,160 --> 01:34:36,760
Speaker 2: I swear to God I heard her say, with an

1749
01:34:36,800 --> 01:34:38,640
Speaker 2: Asian accent, the word unconditionally.

1750
01:34:38,840 --> 01:34:41,640
Speaker 1: No, I'm kidding. She never did that.

1751
01:34:41,840 --> 01:34:45,920
Speaker 2: She only ever did everything about board Katy Perry fifteen seconds.

1752
01:34:46,080 --> 01:34:48,560
Speaker 2: She's one of the great artists of our time. Unconditionally

1753
01:34:48,680 --> 01:34:50,400
Speaker 2: is a ballad that I will have playing at my

1754
01:34:50,520 --> 01:34:54,640
Speaker 2: wedding on repeat. Don't worry every when I'm not getting married. No,

1755
01:34:54,760 --> 01:34:56,920
Speaker 2: I'll probably get married. I don't think i'll have kids though,

1756
01:34:57,560 --> 01:34:59,519
Speaker 2: But when I do get married, just know I will

1757
01:34:59,600 --> 01:35:01,240
Speaker 2: love them unconditionally.

1758
01:35:01,400 --> 01:35:06,040
Speaker 1: And that's one minute. She should have done it like this.

1759
01:35:06,680 --> 01:35:12,519
Speaker 1: Go ahead and show us uncondition. No, you look at

1760
01:35:15,280 --> 01:35:23,080
Speaker 1: there is nothing wrong with unconditionally uncondition. No. I know

1761
01:35:23,200 --> 01:35:27,000
Speaker 1: it sounds bad. It is bad, but that's how it's

1762
01:35:27,280 --> 01:35:32,559
Speaker 1: how the word's condition. There's nothing wrong with that. There's

1763
01:35:32,720 --> 01:35:36,439
Speaker 1: nothing wrong with that. And guess what if there is

1764
01:35:36,560 --> 01:35:38,680
Speaker 1: something a little bit fucked up about it, that's what

1765
01:35:38,800 --> 01:35:42,080
Speaker 1: makes it memorable and pop. That's what makes Katy Perry

1766
01:35:42,520 --> 01:35:45,920
Speaker 1: pop in the top ten of the Iconic four hundred.

1767
01:35:46,439 --> 01:35:48,719
Speaker 1: I we did not agree on that, but I guess

1768
01:35:48,760 --> 01:35:53,000
Speaker 1: it's I guess it's etched in stone. Top she might

1769
01:35:53,040 --> 01:35:53,519
Speaker 1: be top.

1770
01:35:53,439 --> 01:36:02,000
Speaker 2: Tenazy the Iconic four hundred is coming number four hundred, No,

1771
01:36:02,560 --> 01:36:05,280
Speaker 2: we can't say. I don't think we've said who four

1772
01:36:05,320 --> 01:36:07,200
Speaker 2: hundred is yet. Yeah, I don't think we've said it. No,

1773
01:36:07,520 --> 01:36:10,640
Speaker 2: the name that we're gonna say is social number four

1774
01:36:10,680 --> 01:36:13,080
Speaker 2: hundred is so shocking and it will set the tone

1775
01:36:13,200 --> 01:36:17,479
Speaker 2: for an amazing list. Yes, okay, all right, this upcoming

1776
01:36:17,720 --> 01:36:19,840
Speaker 2: is and I think I see him formulating an idea

1777
01:36:19,960 --> 01:36:24,880
Speaker 2: right now, sort of. Okay, this is Bowen Yang's I

1778
01:36:24,880 --> 01:36:28,000
Speaker 2: don't think Zhanni, are you ready? Yes, his time starts now.

1779
01:36:28,000 --> 01:36:28,479
Speaker 2: I don't think so.

1780
01:36:28,560 --> 01:36:32,519
Speaker 1: Money posting lyrics on a story, posting lyrics to be

1781
01:36:32,680 --> 01:36:39,719
Speaker 1: like it's it is lacking an extremely important component, which

1782
01:36:39,920 --> 01:36:44,000
Speaker 1: is the music, which is the production. If it's hip hop,

1783
01:36:44,400 --> 01:36:47,400
Speaker 1: you need you need the track underneath it for it

1784
01:36:47,520 --> 01:36:51,040
Speaker 1: to make sense. I don't think we should encourage this.

1785
01:36:51,200 --> 01:36:53,400
Speaker 1: I don't want to participate in it personally. If you're

1786
01:36:53,439 --> 01:36:56,400
Speaker 1: doing it, no problem, But it's always tough a second

1787
01:36:56,439 --> 01:36:57,960
Speaker 1: either way you slice it. If you're doing it to

1788
01:36:58,040 --> 01:36:59,679
Speaker 1: be like, look at how genius this is, it's always

1789
01:36:59,720 --> 01:37:01,439
Speaker 1: tough to be like, oh yeah, I guess. So if

1790
01:37:01,479 --> 01:37:02,760
Speaker 1: you're doing it to be able to look how stupid

1791
01:37:02,800 --> 01:37:04,679
Speaker 1: it is, it's like, well you're that's that's not fair.

1792
01:37:05,160 --> 01:37:08,400
Speaker 1: So I think until we find a way to like

1793
01:37:09,080 --> 01:37:11,880
Speaker 1: package a song snippet that we like in a way

1794
01:37:11,920 --> 01:37:14,559
Speaker 1: that is digestible to a social media feed, then great.

1795
01:37:14,720 --> 01:37:17,200
Speaker 1: I also don't care about what seems digestible to social

1796
01:37:17,240 --> 01:37:20,400
Speaker 1: media feed. Let's all lean off. I'm gonna be the

1797
01:37:20,439 --> 01:37:24,160
Speaker 1: first person to say social media is bad. That's one minute.

1798
01:37:24,200 --> 01:37:24,880
Speaker 1: That's one minute.

1799
01:37:25,360 --> 01:37:27,800
Speaker 2: First of all, do you know how stupid like any

1800
01:37:27,920 --> 01:37:30,679
Speaker 2: Beatles song would look if you just posted the lyrics

1801
01:37:30,800 --> 01:37:32,840
Speaker 2: like and put them out there and like you laugh

1802
01:37:33,000 --> 01:37:37,320
Speaker 2: them out? She loves you yeah, yeah, yeah, you wouldn't.

1803
01:37:37,439 --> 01:37:39,959
Speaker 2: You'd be like, lol, these are the greatest pop songwriters

1804
01:37:39,960 --> 01:37:43,240
Speaker 2: of all time. Actually, yes that was true. Yes, I

1805
01:37:43,439 --> 01:37:46,000
Speaker 2: just think it's so stupid too to be like, oh,

1806
01:37:46,920 --> 01:37:49,439
Speaker 2: let me like screen grab these lyrics just so I

1807
01:37:49,479 --> 01:37:52,160
Speaker 2: can say, like what, how bad this artist is on

1808
01:37:52,280 --> 01:37:54,640
Speaker 2: the whole, or like how overrated she is. It's just

1809
01:37:54,720 --> 01:38:00,479
Speaker 2: like there's someone cool, like shut the fuck up. I

1810
01:38:00,560 --> 01:38:02,439
Speaker 2: don't know, like I don't have like an intelligent thought

1811
01:38:02,479 --> 01:38:05,759
Speaker 2: about this. And it's like, okay, yeah, gotcha. Those words

1812
01:38:05,800 --> 01:38:09,160
Speaker 2: put together like look stupid, isolated and like you said,

1813
01:38:09,240 --> 01:38:12,040
Speaker 2: without context, like cool, it's a song.

1814
01:38:12,720 --> 01:38:15,320
Speaker 1: It's a song. I've just seen.

1815
01:38:15,400 --> 01:38:18,720
Speaker 2: I've seen like a lot of like people who just

1816
01:38:18,840 --> 01:38:22,760
Speaker 2: are hell bent on every single time Taylor Swift does

1817
01:38:22,800 --> 01:38:26,400
Speaker 2: anything like finding a way to sort of prove that

1818
01:38:27,439 --> 01:38:30,600
Speaker 2: all this success and impact she has is like a

1819
01:38:30,760 --> 01:38:33,439
Speaker 2: fluke or like that it's unearned or something. And it's

1820
01:38:33,479 --> 01:38:36,920
Speaker 2: like they just bend over backwards to try to make

1821
01:38:38,160 --> 01:38:42,679
Speaker 2: that point, and it's always so sweaty. It's like, okay,

1822
01:38:42,800 --> 01:38:47,240
Speaker 2: so did you, like you you didn't just casually find this,

1823
01:38:47,439 --> 01:38:51,120
Speaker 2: You went out of your way in this quote unquote

1824
01:38:51,479 --> 01:38:56,920
Speaker 2: dense densely lyrical thing to find these embarrassing quote unquote

1825
01:38:56,960 --> 01:38:59,240
Speaker 2: cringe lyrics and post them and like to prove what

1826
01:38:59,479 --> 01:39:01,000
Speaker 2: point that you are better than everyone?

1827
01:39:01,760 --> 01:39:07,880
Speaker 1: Okay, they might be, they might be, they might be. Well,

1828
01:39:08,680 --> 01:39:11,280
Speaker 1: this has been an amazing episode of Lost Culture.

1829
01:39:11,240 --> 01:39:15,880
Speaker 2: Tortured, Tortured Podcast Department. But don't we say title of app?

1830
01:39:15,920 --> 01:39:17,080
Speaker 1: Title of that was? There was one?

1831
01:39:19,080 --> 01:39:20,960
Speaker 2: Well, I guess now we have to make a tactical decision.

1832
01:39:21,600 --> 01:39:23,760
Speaker 2: Do we call it the Tortured Podcast Department and get

1833
01:39:23,920 --> 01:39:28,280
Speaker 2: million streams? Or do we call it something else? No,

1834
01:39:28,439 --> 01:39:31,920
Speaker 2: we had we had something else, but well, the numbers

1835
01:39:31,920 --> 01:39:34,000
Speaker 2: are down. We'll listen back to it. Oh no, stop,

1836
01:39:34,040 --> 01:39:34,639
Speaker 2: we're not doing.

1837
01:39:34,640 --> 01:39:36,640
Speaker 1: Numbers are down for Last Culture. We're not doing this.

1838
01:39:37,360 --> 01:39:40,160
Speaker 1: We just want a webbing. Yeah, let's hopefully the webby

1839
01:39:40,240 --> 01:39:42,439
Speaker 1: ticks us up. But yeah, we saw something. If you

1840
01:39:42,479 --> 01:39:45,360
Speaker 1: didn't tune in last week, we saw that. We felt that.

1841
01:39:45,520 --> 01:39:48,800
Speaker 1: Oh stop, I'm not looking at the numbers you are.

1842
01:39:49,320 --> 01:39:51,599
Speaker 1: I'm a metrics queen, I know, and I am glad.

1843
01:39:52,200 --> 01:39:56,320
Speaker 1: All I know is our most polarizing episode ever. It

1844
01:39:56,439 --> 01:39:59,679
Speaker 1: was a huge hit, So maybe we should start fucking

1845
01:39:59,680 --> 01:40:03,040
Speaker 1: burning it down. Okay, come in here, no fucks to give,

1846
01:40:03,240 --> 01:40:06,880
Speaker 1: no life to live, no fucks to give, no life

1847
01:40:06,960 --> 01:40:10,760
Speaker 1: to live. What was our most successful episode? Oh oh oh, Our.

1848
01:40:10,720 --> 01:40:14,080
Speaker 2: Most successful episode of all time is Great Americans with Tina.

1849
01:40:14,560 --> 01:40:18,600
Speaker 2: But what one episode that like crushed was One and

1850
01:40:18,640 --> 01:40:23,800
Speaker 2: a Half Fuck, which Sunshine review and Recap, which had

1851
01:40:23,920 --> 01:40:29,599
Speaker 2: the girls sure twisting, turning, tossing, yeah, yeah, yeah, and totally.

1852
01:40:29,680 --> 01:40:32,320
Speaker 1: I mean. All I'll say is I continue to stand

1853
01:40:32,400 --> 01:40:34,680
Speaker 1: by what I've said. One of my favorite albums of

1854
01:40:34,720 --> 01:40:35,000
Speaker 1: the year.

1855
01:40:35,040 --> 01:40:38,280
Speaker 2: I love every word, love the artists, love and love

1856
01:40:38,560 --> 01:40:42,080
Speaker 2: and love all the girls out there who have something

1857
01:40:42,160 --> 01:40:42,479
Speaker 2: to say.

1858
01:40:42,600 --> 01:40:44,760
Speaker 1: You are and so you I'd have to say, is

1859
01:40:44,880 --> 01:40:49,160
Speaker 1: all you Sarah's and Hannah's you like? But Daddy I

1860
01:40:49,320 --> 01:40:49,720
Speaker 1: love him.

1861
01:40:49,800 --> 01:40:51,280
Speaker 2: If you want to know how I feel about y'all

1862
01:40:51,320 --> 01:40:52,720
Speaker 2: and the way you feel about One and a half

1863
01:40:52,800 --> 01:40:54,920
Speaker 2: Fuck episode, just listen and go go stream.

1864
01:40:55,000 --> 01:40:58,880
Speaker 1: But Daddy, I love him. We end every episode with

1865
01:40:58,960 --> 01:41:03,560
Speaker 1: a song I having say, No, I'm not, but you

1866
01:41:03,720 --> 01:41:09,280
Speaker 1: should see your faces. Everyone stopped. Go stream. Torture Poet

1867
01:41:09,560 --> 01:41:09,960
Speaker 1: Spot